Photograph

10 Tips For Successful Underwater Portrait Photography

Madi Trio

My brain is officially underwater.

Photographically, that is.

I see everything in terms of underwater. A friend shows me the gorgeous wedding dress she picked out, and I wonder what it would look like in a pool. My mother-in-law shows me a new chair she reupholstered and I wonder how well the color would hold up if it got wet. I’ve even made the mistake of approaching a potential model with an opening line of, “Excuse me, how well do you sink in water?”

Creepy…I know.

I’ll admit though, starting out in underwater photography was pretty intimidating. I couldn’t afford my own housing, so I built my own, and it actually worked fairly well in the beginning.

I was still scrambling in every other aspect though, as I couldn’t find any decent information online that wasn’t primarily geared toward photographing fish or plant life. So starting from scratch, I slowly began exploring the world of underwater portraits…and making every single mistake along the way.

If there’s anything I wish I would’ve known in the beginning (besides the fact to never ask a stranger how well they sink in a pool) this would be it.

1.) Have An Open Mind

Everything is different under the water. Lighting, for example, follows different principles and patterns. Lights need to be about 6 times stronger than on land (roughly, depending on depth and distance to your subject), and since dealing with radio signals can be a huge pain underwater, your lights usually need to be either constant, ambient light or strobes that are connected directly to your camera.

That’s not all though; you and your models need to adapt to shooting in a near zero-gravity environment. Your props and wardrobe will act differently as well – a gorgeous, flowing dress on land could be a tangled, transparent mess underwater, and a prop you thought would be a fantastic idea might be downright dangerous after it gets wet (I learned this the hard way with a fur coat and a pair of roller-skates).

No matter how long you’ve been shooting, you’re about to enter into a field that will make you feel like a novice all over again – which is incredibly exciting! But if you go into it with a rigid idea of how photography works, you’ll quickly find yourself frustrated and discouraged. So keep an open mind and be prepared to see things in a whole new light.

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2.) Buy The Right Housing

Sorry to say, but underwater photography housing is no place to be pinching pennies. When you’re putting thousands of dollars’ worth of gear in an environment that could easily destroy it with just the tiniest of leaks, you need to know it’s going to be taken care of.

I only wish I would’ve known this earlier. At the time, I didn’t really know if this was something I was going to be actively pursuing, so I didn’t want to make a huge investment. After using my own housing for a while though, I knew I was hooked. So I started the process of upgrading, all while trying to spend as little money as possible.

Big mistake.

I ended up going through three different brands of cheap underwater bags, housing specifically made for underwater video and various hard housings. The bags all leaked at one point or another, the underwater video housing was NOT ideal for photos and the cheap hard housings were large and awkward. It was a mess.

Now, I use underwater housing from Ikelite, and for the life of me wish I would’ve just gone to them sooner. I could’ve saved myself a lot of time, money, stress and one very unfortunate, doomed 5d Mark II.

My advice – if you’re just looking to have some fun, consider renting some gear or buy a GoPro. Take some pics and see how you feel. If you decide underwater isn’t for you, at least you can return the gear or use a GoPro for literally anything else, and if you do decide this is something you want to pursue, sit down and have an honest look at the kind of underwater work you want to produce and the gear you’ll need to produce it.

3.) Know Not All Water Is Equal

Our cameras see light very differently than we do. A heavily chlorinated pool may seem clear to you, but it’s a hazy mess according to your camera. If you’re shooting in a pool that looks clear, but you’re images are turning out cloudy and useless, there might be an abundance of chemicals in the water that you aren’t seeing, but your camera is.

In my experience, I’ve found there’s really nothing better than a clear, freshwater lake, followed by clear saltwater, followed by a saltwater pool. I’ll avoid shooting in a chlorinated hotel pool at all costs.

There are also other factors that come into play as well. Oceans have currents and potentially dangerous animals, like jellyfish. Freshwater lakes here in Montana are insanely clear, but they’re also freezing. There’s always a tradeoff.

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4.) Embrace Wide Angle Lenses

To cut down on the amount of water between your subject and your camera, you’ll want to shoot as close to your subject as possible. I mostly shoot at a focal length right around 25mm. Any longer and I have a hard time keeping my subject entirely in the frame, and I started running into additional focusing and clarity issues. Any wider and there is too much image distortion.

Not to say you shouldn’t break the rules a little bit though! If I know I’m shooting in an environment where outer distortion doesn’t matter (say on a completely black background), I’ll shoot with something as wide as an 8mm, and for close-up portrait work, I’ll shoot closer to 40-50mm. I’ve also taken my 85mm underwater to0 because, well, why the hell not?

5.) Learn To Sink

The key to staying underwater is not to hold your breath, but rather to let all your air out. The less air in your lungs, the less buoyant you are, and the easier it is to maneuver down there. It seems quite terrifying at first, but soon you’ll learn to work with the residual air in your lungs, and the more you do it the longer you can stay down. It’s not uncommon now for me to sink down 15 or 20 feet for the angle I need, while the model goes through a couple cycles of posing.

For some people though, the thought of letting all their air out before diving down is just too much to take, and in this case you can use weights or even dive equipment. If you’re having trouble, a great tip is to take a 25lb hand weight, wrap it in bubble wrap and then black felt (if you’re shooting in a pool, this helps to protect the liner), than hook your toe under it and pull yourself down. The model can do the same if she’s having a hard time sinking as well.

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6.) Be Patient With Your Models

Underwater modeling is incredibly difficult. They’re modeling in completely new conditions, with water going up their nose almost the entire time. They also can barely see the camera – it’s mostly a blurry black blob to them. Plus, since you can’t talk underwater, they don’t even know if what they’re doing is what you’re looking for.

So give them plenty of time to figure this all out. For most models, first they need to practice letting their air out and sinking. Once they get the hang of this, turn your focus to facial expressions. Most people naturally make a variety of unattractive facial poses underwater, like squinty eyes and nostrils, chipmunk cheeks or “fish lips” (what I call the underwater version of the “duck face”).

After they learn how to keep their face looking natural and relaxed, move onto body poses. Reiterate soft hands, pointed toes and a long neck.

I try to give my models a list of poses before the shoot so they can practice them on land before going underwater, and then during the shoot I slowly walk them through the process, suggesting small movement changes a little at a time.

It’s also important that you are fully aware of the conditions your models are in. Personally, I never, ever wear a wetsuit. I certainly could, considering Montana water is more than cold enough to warrant one, but then I wouldn’t have any idea how my model felt. By being in the exact same conditions my models are in, I’m able to better gauge what is appropriate to ask of them given the current conditions.

7.) Learn to Shoot Fast

Even if the water isn’t even that cold, a long day of shooting will quickly wear on both of you. Your model will have water going up her nose and in her ears as she tries to move into different poses, and you’ll because exhausted from trying to maneuver that camera around underwater. You’ll both be swallowing plenty of water and will both feel sick at some point (I like to keep a few bottles of freshwater nearby, as well as a box of crackers to help combat water sickness).

From a photography standpoint though, shooting fast is important because things change underwater, primarily makeup and skin texture. Fingers become pruney, makeup will run and fade and skin will take on an unattractive dimpled, dead texture, which you definitely don’t want…unless you’re going for a zombie look or something.

So this is where good planning will come in. If everyone knows exactly what you want before you even get into the water, things will naturally move much faster. If you have a huge shoot coming up with a new model, meet her a few days before and do a kind of rehearsal shoot so she can practice. Some models pick it up in a heartbeat; some need 3 or 4 shoots to begin even looking somewhat comfortable in the water.

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8.) Have Plenty Of Assistance

Any extra hands on an underwater shoot will not go unused. If you have lighting or other equipment that’s on land just out of reach, for example, it’s much easier to have an assistant adjust it for you while you do a test shot, rather than have to get out of the pool and move it yourself until you finally get the look you’re going for.

Plus, underwater shooting can be a little dangerous at times, especially when the model is not wearing something they would normally wear underwater. Large dresses can become tangled, props can become heavy or the model can become disoriented while trying to hit certain poses. Extra hands on deck help make your job easier while keeping everyone safe.

9.) Embrace Post-Processing

Water is a medium, and anytime you shoot through a medium, you’re going to run into some issues. All of those brilliant underwater photos you see on the internet, even ones by Bruce Mozert, are not entirely straight out of camera.

Shooting through water takes away image clarity and sharpness, adds a lot of background stuff to clean up (bubbles, backscatter, light reflections), not to mention that pesky blue cast that takes some dealing with (you could use filters to try and combat the blue cast, but personally I feel they cause even more of a headache).

If your images look less than stellar straight out of camera, don’t get frustrated. You don’t need to go out and buy a few thousand dollars in lighting equipment; you most likely just haven’t put them through the proper post-processing techniques yet.

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10.) Understand This Takes Time

To be blunt – underwater photography is not easy. It’s physically exhausting, time-consuming and potentially very expensive. When I first started I was coming home waterlogged and sick, with red, itchy eyes, ringing ears and about 10,000 images to sort through…and only 2 would make the cut. But even then, I was completely addicted.

Don’t be too hard on yourself in the beginning. There are a lot of components that need to come together to make a successful photograph, and it takes a lot of practice to get to that point. Take it one day at a time, and you’ll be there before you know it!

And of course, if you’re interested in a hands-on underwater portraiture course, don’t forget to check out my workshops next year in Greece and Bali, and make sure and SUBSCRIBE for more posts like this, and follow me on Facebook, Instagram & Twitter :).

 

Following That Gut Instinct

Drowning

There’s nothing quite as depressing as the sound of silence in a cubicle.

The incessant buzzing of the air conditioner and the relentless squeaking of a run-down office chair fills the air, broken only by the telltale sound of an employee attempting to surreptitiously remove the Ceran wrap from his late lunch. Fingers scurry across keyboards, mouses click, and chipper voices answer phones with that identical artificially caring voice they’ve used for the last 10 years. I sit in the back, as close to the only window as possible, undaunted by the measly view it provides. The sight of the adjacent building, just two feet away, is the only connection I have to the outside world.

This, ladies and gentlemen, is my nightmare.

I have decided that an office is the ultimate prison; one designed to keep its prisoners willingly confined, brainwashed by the sight of the strategically placed metaphorical carrot just inches beyond their grasp. I feel as if I have signed a contract without reading the fine print, ushered ahead to the next important benefit while passing over the sacrifices needed to reach said benefit. Even the fluorescent lights above flicker to remind me of the task at hand, like the most effective of prison guards; jarring and emotionless.

I stare at the computer screen before me and click my pen against my teeth, the scent of Windex and carpet hanging in the air. This is not my computer. This is not my desk. This is Patty’s desk, and hers is the bar to which all following cubicles will be measured. Her functional knick-knacks confuse me, and I feel even more out of place. A container of goo meant to make fingers sticky (for turning pages) and a bottle of Germ-ex sit directly next to the keyboard. I do not own a bottle of Germ-ex. I welcome the dirt and grime of the natural world. Oh how I long for the touch of grass…

Next to a colorful array of pens (the likely only allowed form of creativity or self-expression), is a palm tree post-it note container, symbolizing the relaxing beach she has probably desperately been saving her vacation days for.  She has months’ worth of vacation days saved up, yet her planner hangs on the cork-board to the right, rows of assignments filling it: typing, filing, interviewing, typing, staffing. Is this what my life will soon become? Am the next generation of Patty’s?

But the most disheartening trinket of all is the digital calendar on her computer that displays a different “inspirational phrase” daily.

Today’s? “Smile. I like your sense of humor.” Great, a computer is telling me it likes my sense of humor. I have already discovered that no one in this particular job likes my sense of humor, so it’s ironic that a computer would have that opinion. Rather, I think it’s mocking me. Mocking my lack of humor and instead exposing my dutiful, uninspiring appropriateness that has replaced it. Within two weeks my wit has given way to internal cynicism. I used to be funny.

My stare is broken by the flicker of the fluorescent prison guard. Back to work. Deep breaths…

DejaVu

That was me, just 4 years ago.

No, I’m serious – that’s an actual snippet from an old blog post dated August of 2011. While there is nothing wrong with working in an office, it wasn’t for me, and I was definitely not doing well.

Sitting in the office of my first counselor job straight after completing my Master’s, I was on the edge of a complete breakdown. I cried all the time. Once, while driving around on a random Tuesday, we passed an enormous house and my husband casually said, “Woah, I wish we lived there!” I replied with, “I wish it was Friday,” and burst into tears. Sometimes it didn’t even take a trigger; I’d just sit in the bedroom, stare at a pair of “professional work shoes” and cry.

I didn’t last long. Within 3 weeks I was fired for following a code of ethics that apparently my employer didn’t share with the rest of the mental health profession. I came home, told my husband the news and he and our friend Bill took me out for a game of golf (I drove the cart through a fence) and a night of never-ending beer and buffalo wings, which, as it turns out, is the perfect cure for that ‘just getting fired’ feeling.

The next day, I told my husband I was changing careers. I told him I needed to do something creative for a living or there was a chance I may just collapse in on myself like a dying star. He agreed.

I had no idea what I wanted to do though, so I made a list. I wrote down every single creative job I could think of…and I mean everything. I listed actor, musician, painter, cartoonist, interior designer, dancer, filmmaker, and about a bajillion other possible jobs. I narrowed it down based on location (I wasn’t moving), required education (I couldn’t afford to go back to school) and required physical development (it was a little late to start a career as a professional ballet dancer). I was left with a list of 3 options: writer, photographer and cake decorator. On a whim, I chose photographer.

I didn’t even own a camera.

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Cue the unrelenting skepticism. People thought I had snapped. They thought I was going through a phase. I had been accepted into medical school and was set to attend in the spring – giving up an opportunity like that was nothing short of insane, they said. My husband was the only person who had my back at all times, while others just pretended none of this was happening. Friends asked when I’d be leaving for med school. Family mentioned when they heard of a new counselor position opening up. I was mocked constantly and openly. According to general consensus, I had just made the worst career decision of all time.

But wait…why am I telling you all of this?

Because today, I paid off my student loans.

Today, I paid off $40,000 in student loans that I acquired pursuing degree programs everyone told me would lead to a financially stable and satisfying career, all with money I made from a career everyone told me was the equivalent of financial suicide.

I spent $40k to guarantee myself a “real job” then paid it off with money made from a “hobby”.

Suck it, haters.

To be completely honest, I’ve spent an embarrassing amount of time fantasizing about how I would celebrate when this day came. Perhaps I’d buy a plane ticket to a faraway beach and sit under an umbrella while someone brought me a never-ending supply of margaritas, or better yet maybe I’d take a trip down to the Billings animal shelter and spend the day adopting every single pet in the mothafuckin’ place. Who knows, maybe I’d run through the streets of Billings shouting, “NO STUDENT LOANS, BITCHES!” all while throwing dollar bills in the air behind me…and then later going back to retrieve them of course because let’s be honest, I still need those and I’m not in a music video.

But now that this day is finally here, all I want to do is write about it. All I want is to let you know that if you’re in a similar situation I was in 4 years ago, where you feel completely trapped, depressed and utterly terrified at the idea of starting over, there is a way out.

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We have these struggles in every aspect of our lives. Whether it’s a career move or a bad relationship, there are always changes we avoid making even when our gut is telling us, indisputably, that something is wrong. We’re terrified of all that time and effort (or in my case, 6 years and $40,000) being for nothing. It’s not easy, but there comes a point where you either make the decision to keep pouring in resources to a dead cause, or cut your losses and head in a new direction. Remember, time and effort already spent is not an indicator of time and effort to be sacrificed in the future.

Regardless of all the embarrassment and fear that comes with putting yourself out there, sooner or later all of it passes and all you’re left with are the consequences of the decisions you’ve made. Each day is an opportunity to take a small step in a new direction. If you’re unhappy, change something. Good things don’t come to those that wait; good things come to those that know what they want and work their asses off to get it.

Four years ago I was at the bottom of a massively large financial hole, stuck in a career path I had chosen to pursue, and scared stiff of the embarrassment I would face knowing I’d have to explain my decision to do a complete career 180. And just last week, I was finishing up a shoot at Flathead Lake, and someone mentioned having to go to work the next day and I thought to myself, “I am at work. This is my job. I’m getting paid to be here, right now, sitting in the sunshine on the shoreline of one of the most beautiful places in Montana. This is what I do for a living.”

“This is my life now.”

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For any of you out there on your path to photography, I made something just for you. Something I really, really wish had been there when I first started. 

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“In Bloom” Floral Double Exposures

This last winter was pretty rough.

I won’t get into details, but like so many others I found myself craving the feeling of warm sunshine like never before. I was wearing shorts in February folks, simply as an open boycott of winter. I was done. I needed to be surrounded by cheerfulness and green, so when Kim & Eddy’s, a local boutique downtown asked me to put something together for their May 1st Grand Opening, I thought these double exposures would be a perfect fit. Flowers for all!

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Hope you’re all having a wondering spring, and here’s to a happy summer as well!! 🙂

You can see more of my work on my website, and don’t forget to SUBSCRIBE for more posts like this and follow me on FacebookInstagram and Twitter as well! 🙂

So Over The “Overly-Retouched” Argument

A Quiet Place

Ah, “photography”, you loosely defined word that everyone seems to have their own definition of. It’s amazing how polarizing you can be, isn’t it?

And one of your most polarizing aspects seems to be exactly how much retouching is considered reasonable. Purists claim no retouching of any kind is allowed (then they usually reference Ansel Adams, which is quite ironic considering the amount of dodging and burning he brought to the field), while others gladly accept Photoshop as a regular part of their photography tool-belt.

In general though, there’s a viewpoint around the photography community, that too much Photoshop is a bad thing. That it destroys photography as we know it, and those who retouch an absurd amount should be banned or beheaded or at least mildly reprimanded (depending on which Facebook group you happen to be in). But before we all start gathering our pitchforks, can we maybe examine this concept of over-retouching for just a second?

First of all, let’s all admit that the term “over-retouching” is pretty specific to the type of photography in discussion. In photojournalism or documentary style photography, even the slightest adjustment in Lightroom may be completely off-limits, yet for someone such as myself, who makes a living on work that admittedly straddles the line between photography and photo-manipulation, the definition of “too much” is entirely subjective.

And speaking of subjectivity, this brings me to my second point: we each have a preference for a particular editing style. I, for example, am not a huge fan of HDR. Actually let me rephrase that: I loathe the use of HDR. I can’t stand it. Out of 1,000 examples of what would be considered “well done” HDR, I’d only admit to liking one or two photos…and that’s strictly on the occasion that the photographer whose photos they were was standing right next to me and I didn’t want to completely crush his soul. But I’d be lying, because no matter how far down I dig, I just can’t bring myself to like HDR treatment of photographs.

However, as much as I hate this particular editing style, that doesn’t mean it should be banned from ever being used. It doesn’t mean I should be breaking down other photographers simply because they do enjoy it as an editing technique. If anything, it only means that I won’t be using HDR anytime soon on my own photographs. It’s a personal preference and nothing more.

Tea-Time

Lastly though, the real issue I have with such hateful rhetoric of “over-retouched” photos is this: doesn’t everyone start off with a little too much adjusting?

Granted, if you started in the days of film and you didn’t have your own darkroom, it was probably pretty tough to manipulate anything in post-processing. But let’s talk about the 21st century, when most new photographers started out with access to both a camera and at least a decent version of Photoshop or Lightroom. Didn’t we all go a little crazy in the beginning?

I know I did. I was burning up those saturation and clarity sliders. Everything needed to be brighter! More color! More contrast! More, more, more, MORE!! (Cue evil, maniacal laughter here.)

My early work, like so many other photographers, was awful. I wasn’t experienced enough to be able to see color casts or recognize the breakdown of color information from over-manipulation. My skin tones were severe and unnatural…and I had no idea. I tried my hardest to get the best possible shot in-camera, and then adjusted however much I needed to make the photo “better” in post…or at least what I thought was better. Looking back though, everything looked pretty damn…well…amateur (in fact, if you scroll to the bottom of my Flickr account, you can see exactly what I’m talking about – I haven’t taken one photo down since the beginning).

People tried to help, but their feedback fell on deaf ears. It wasn’t that I was trying to be stubborn; I honestly just had no idea how to tell the difference between good and bad photography, and I simply couldn’t understand their critiques. They said the skin tones were bluish – I couldn’t see it. They said the vignette was too strong – I didn’t know what a vignette was. In short, I was exactly like the vast majority of the general public, because in terms of photography skills, I wasn’t a photographer yet. I was still a member of the general public…except with a camera in my hands and Photoshop at my disposal.

As embarrassing as it is to look through my early photos, I’m glad I spent the beginning of my career in the “overly-retouched” category, because it was the only way I was able to learn. All of that experimenting brought me to where I am now, where I rarely, if ever, use the saturation slider. My editing style leans towards a much softer and much more natural aesthetic – especially the more I shoot film.

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Looking back though, if people had consistently destroyed me for my use of over-retouching, I may have completely avoided Photoshop altogether and I wouldn’t have learned near the amount of useful information I know now.

Therefore, after all this examination, I raise the question: why the constant bashing of overly-retouched photos? Either it’s overly-retouched according to your own personal preference, in which case your bashing serves only to prove your own photography superior in some conceited way, or the retouching really is awfully done, in which case it’s probably a new photographer simply feeling out their own editing style, and your bashing serves…well the exact same purpose.

So can we call a truce? Can we just admit a few simple points here:

1.) Every photographer has a different editing style, some that we find pleasing and some that we don’t. If someone’s editing style doesn’t match your own preference, certainly you can agree to disagree in a somewhat respectful manner, right?

2.) Some photographers simply haven’t reached the point in their development when they’re able to recognize their own over-retouching, in which case surely it’s possible to still offer them help without completely crucifying them for it as well?

3.) We were all there too at some point. None of us started out with perfect shots straight out of camera and we certainly didn’t have the perfect editing skills to accentuate the decent shots we did take. We’re all probably a little embarrassed to go through our own early work, and mocking other photographers because they might be in a different stage of development than you is really a pretty dick move overall, agreed?

I sure hope so. Because I really don’t have a problem seeing a cluster of poor, “overly-retouched” photos scrolling through my news feed from a new photographer excited about learning how to dodge and burn for the first time. Are they probably grossly overdone? Of course they are, but I’m sure we all overused the dodge and burn technique just as much the first time we learned about it too. It does bother me though, to see a collection of pompous, bitter “professional” opinions about how honest editing mistakes and experiments are destroying the industry. For the love of Ansel just let people play around and find their style, and in the meantime, remember where you came from and don’t be such an ass about someone else’s journey.

But that’s all just personal preference, of course ;).

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The Photo I Wish I Had

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Today was my wedding day.

It wasn’t a very big wedding. We’d actually been planning to get married in August, but after we found out I was pregnant (yay!), a very simple fact was staring us right in the face – I needed insurance. Now. Plus I’d be about 8 months pregnant in August, and call me crazy but I kind of want to be able to dance my ass off at our wedding, and 8 months pregnant does not qualify me for the kind of dancing I’ve been preparing for.

So instead, I put on a little white dress I had in the closet, Chris wore a button-down shirt and we headed over to his dad’s house for a “family BBQ”, where one of our family members, who was already ordained, married us in the backyard. The ceremony lasted maybe 6 minutes. I cried the entire time I read my vows, and then even harder when Chris read his.

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Another family member snapped some photos of the ceremony, and there was plenty of BBQ to go around. All in all, pretty much the perfect little backyard wedding.

Except for one small thing…

We were both sick.

Chris woke up with the flu, and by 10:00 that morning he was having a rough time keeping anything down. I jokingly told him he might want to try taking the ring off to see if he felt better, but he was pretty devastated at the idea that he was ruining our only wedding day. “I’m so sorry,” he kept saying. “I’ve been waiting for this day since I asked you to marry me. Just give me second, it’ll pass, I promise it’s nothing,” and then he’d make a mad dash to the bathroom. Poor guy. I’m sure on some level he was worried that I thought he might be having doubts about this whole “rest of your life with one person thing”, but of course I wasn’t. We’d been together 7 years already. We both knew we were in it for the long haul.

Our ceremony was at 2:30, and by 5:30 we were both headed home, desperately trying not to get sick in the car (him from the flu, and me from the morning sickness, which always hit me in the early evening). We got to the house and we both crawled into bed, where we stayed for the rest of the night…not exactly the romantic escapade most people envision their wedding day to be.

A few days later, our relative gave me the card full of photos from our big day. Lots of smiling, happy photos. I love them, but in all honesty, there is a different photo I wish I had.

Rewind back to our wedding night, and there we were curled up in bed together, munching on Saltine crackers and reading baby books. I flipped through one and showed him a photo of what our 6 week old baby currently looked like. “That looks like a velociraptor,” he said very matter-of-factly, and I agreed. Then he snuggled up closer, laid his head on my shoulder and said, “Read me more about our tiny dinosaur baby.”

That, right there, is the photo I wish I had. Both of us cuddled up in bed, sicker than shit, reading about the small alien growing in my belly. I so wish I had a photo of that moment.

It’s really made me think of all the other photos I wish I had in my lifetime. As photographers, we don’t usually take photos of bad or mediocre times in our lives. We take photos of happy, new experiences because we think that’s what we want to remember. Our life checkpoints. The time we went to the Grand Canyon, the time we turned 21, the time we ran a half-marathon. Don’t get me wrong, these all make for an awesome scrapbook, but if we focus only on the happy snapshots, we miss out on everything in-between. Times like when you’re just sitting on the porch hanging out with friends or when you’re curled up on the couch with the dog. Even “bad” times, like when you got completely lost on a road trip and everyone was yelling directions at each other, or when you visited a sick family member in the hospital. In these moments, the experience may not seem all that interesting, or even like one you want to remember, but trust me, it is.

Our wedding story wasn’t some huge, blown out fantasy that every couple dreams about, but it was still ours. And even though it doesn’t sound romantic, it really was. If I could go back, I might be tempted to change the fact that we were both sick, but then I’d lose the memory of us both cuddled in the bed, reading baby books and gingerly eating Saltine crackers…and I wouldn’t give that up for the world.

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I do know, that I’ll be making an effort to take better photos this year. And by “better” I mean redefine what I would normally consider to be a promising photo opportunity. Because if you knew this would be the last time you talked baseball with your Grandpa over a couple of beers…wouldn’t you want a photo of it?

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When It All Gets To Be Just Too Damn Hard

Sunbathing

I have had a shitty, shitty week. 

Not like the kind of week, where you have a flat tire, an overdraft fee and get gum stuck in your hair, but the kind that makes you question everything about who you even are in the first place. The kind that leaves you feeling lost, confused and hopeless.

It all came to a point yesterday at 7:00 am sharp. Our cat, Study Buddy, had been sick for some time and in and out of the vet about once a week for the last month. He was in pain, but no one could figure out what was wrong. I woke up at 7:00 and went to check on him on the floor at the foot of the bed, and he couldn’t even move. I called the vet, they fit us in at 9:00 (first appointment of the day), and I curled up on the floor next to him with a blanket and pet him for the next 2 hours. I cried the entire time…I knew I was saying goodbye. 

Sure enough, 9:00 came, and the vet ran through our options – none of which were treatable. I held him in my arms and Chris and I both pet him and talked to him until he fell asleep, and then was gone. I kept holding him and petting him while they went over cremation options (burying was out of the question – we’re planning on moving in a few years and I didn’t want him to get left behind). I headed home from the vet’s office and Chris went to work. 

I cried all day. Like uncontrollable, body-shaking sobbing. All day. I ate nothing, I drank nothing. I tried to work, but it was futile. Then around 2:30 I decided to chop off all my hair. I cut 12 inches off. It didn’t help. The loss of my hair, did not in fact, bring back my pet. I cried some more. 

*And before a single one of you says, “Come on, it’s just a cat, pull yourself together.” No, no it’s not, and fuck you. It’s a member of the family, and I’ll grieve in whatever way keeps me out of jail. 

Problem is though, yesterday was just the cherry on top of the shit-filled sundae that has been my week…and it was only Wednesday. Rejection letters, broken gear, taxes, a broke down car, canceled workshop seats, wedding refunds, medical bills, a debt collector trying to collect a debt that isn’t mine and more fucking snow – it just kept adding up. And on top of everything…I’m pregnant (which I haven’t formally announced yet, so that’s just a little secret for you blog subscribers) which means lots of exhaustion and time spent in the bathroom, hugging the toilet. By the time yesterday rolled around all I wanted to do was stand on top of a very high building and throw watermelons over the edge…but instead I was in a vet’s office, saying goodbye to my best friend. I was done. With everything. 

Study Buddy

When Chris got home I had crawled so deeply into a hole there was little chance of reaching me. I wanted everything to stop. I wanted to be able to go to work at a meaningless job, do meaningless tasks, come home and leave everything at the office. I wanted to be able to go for a run again without puking. I wanted to stop stressing over how much our lives are going to change at the end of September when we come home from the hospital with a new baby. About how much more money we’re going to need to make to care for an infant. About how much more art I was going to need to produce, and sell, in order to make that money. I wanted to be responsible for nothing. Fuck paying for the car to get fixed, they can keep it. I just wanted to be done. Done, done, done. 

Now I know I signed up for this. I know this is the life I chose and I know I’ve actually got it pretty damn good. Don’t get me wrong, I am grateful. I make art for a living. Not a lot of people can say that. I come home every day to the most supportive, loving man I have ever known, and after about a year and a half of trying, we’re finally going to be able to start a family…and that’s a pretty amazing notch in the good news column too. But if one more person asks me to work for free, or refers to my pregnancy as a “magical time” and then proceeds to give me unsolicited advice about how to raise my future child, I will murder them in broad daylight. 

I’ve been going back and forth about sharing this. Mostly because I follow a lot of very famous photographers, and none of them ever write about imploding in on themselves like a dying star. Their feeds are bright and shiny and happy, happy, happy. “Look where I’ve been featured! Look at what I’m selling! Check out how awesome I am! Buy my book, attend my workshop, click this link and spend money on whatever it leads to!”  Surely if they are all following the same formula, and they are all very successful, wouldn’t it make sense for me to follow that formula too? To hide these ridiculous insecurities? To pretend, even on the days I want to throw in the towel and apply for a job at Target, that everything is sparkling with awesomeness? 

Maybe. But I’d rather not. It’s unrealistic to think that everything is always perfect and awesome because a lot of the time, it isn’t. And even though there are ways to help with a little self doubt, there are also times when none of that works. When the only thing that is going to help bring you back to reality is crawling under your desk, having yourself a good cry and then approaching even the smallest of goals. I remember a little while ago I was sick, in Walmart, standing in the cracker aisle in front of the Saltines, absolutely bawling…because I couldn’t find the Saltines. A lady came, asked why I was crying, I mumbled incoherently and she pointed in front of me. And just like that, I was fine. All it took to calm me down, literally, was a box of Saltines. 

I’m not writing this to vent. Or even for a little sympathy. Trust me, I vented a lot yesterday, and sympathy just reminds me of stuff I want to forget right now. I’m writing this because I want you to know that everyone has times like these, and to let you know that if you’re in the same situation, it will eventually get better. While yesterday was a horrible, horrible day in an already awful week, today is a little better. I’m still sad, I’m still overwhelmed, and I am wondering where all my hair went, but for the most part, I’m okay. And hey, I’ve never had short hair before, and it is kind of fun. I guess I was due for a change anyway. 

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Ballet Inspired Halloween Shoot

One of the great things about shooting weddings along with fine art, is you get to meet a lot of incredibly creative people, including florists. When Katie from Mac’s Floral asked if I wanted to work with her to create a dark and ominous ballet inspired shoot for Halloween, of course I said yes! We called up a few models and our awesome makeup artist, Sydney, put together the outfits and bouquets and scheduled a time at Billings Open Studio. Anna and Jessica (from the Billings Terpsichore Dance Company) did an amazing job. They did everything I asked, all while tangled in a ridiculous amount of fabric…in pointe shoes. 

In the end, this was the final result. This shoot was so much fun and I cannot wait to work with these amazing girls again!!

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Can We All Just Stop Complaining About “Stolen Work” Already?

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“They stole my idea.”

Oh, honey, sure they did.

Ok, bearing in mind that we all tend to get a little defensive when we think of something brilliant and then aren’t given credit for it, yes, getting your idea stolen sucks. But here’s another little tidbit to keep in mind:

Get over yourself.

Side note: I understand this can be counterintuitive in the world where our art is our living. A person going around and stealing our work could be a very dangerous thing. But I’m not talking about straight up stealing our work. I’m talking about someone that creates something, all on their own, that ends up looking remarkably similar to something you have already created. 

Your Ideas Are Not As Unique As You Think They Are

Yeah, this might sting a little, but we’ve got to address it. Thinking you were the first one to ever think of a concept is just plain egotistical. Just because you’ve never heard of a concept doesn’t mean the thought hasn’t already existed – all it means is that you don’t know anyone in your immediate circle with the same idea. In fact, it really only means that you haven’t casually come across anyone else, online or in person, that has actively expressed the same idea. And when it comes to having the “original” – all that means is that of all the people in the world with the same exact thought, you were the first one with the resources to execute it.

That’s it.

Having the “original”  doesn’t make anyone any better or worse than any other artist out there. It doesn’t give anyone the right to shame all those that come after them for being “unoriginal” or “uninventive”. Contrary to popular opinion, the timestamp is not more important than the art itself. Who executed it first, who marketed it first, who put it out into the world in a widely receivable form before someone else could claim its “genius” – that’s not what makes a true artist.

A true artist creates. A true artist is inspired by something, then puts the effort into creating the concept they have in their mind. They don’t do it so they can stalk the web and condemn anything similar that comes their way. Having the “original” doesn’t devalue any work following it. They came up with an idea, all by themselves. They babied it, they took care of it, they molded it into perfect piece of art they had dreamt up in their head. Why wouldn’t they deserve to have just as much credit as anyone else with the same idea that just happened to post their finished artwork first?

I remember the first time I saw an image similar to mine. One of my fans left this comment on my photo on the left, “American Beauty”, on my Facebook page: “Reminds me a lot of this image” with a link to the image on the right (belonging to Mandy Rosen). As innocent as it seems, I was crushed. I genuinely thought I had created something that hadn’t been done before. I put in so much work, so much blood, sweat and tears, only to find my whole world blown apart. .

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Now come on, these look pretty damn similar. Granted, her dress is made of butterflies and mine is made of rose petals, but look at the bigger picture. The colors (red standing apart from a muted, brown palate), the horizon line, even the arm positioning. If I were Mandy perusing the internet at 3:14 am, with maybe a small bottle of tequila, I might have a bone to pick.

And here’s the weird thing – even though I hadn’t even slightly copied (I’d never seen the image before, nor had I ever heard of Mandy Rosen, who does awesome work, btw), I felt like I had. I felt like even though I’d had a brilliant idea and spent countless hours bringing it to fruition, I was too late in executing it. All that work I had put in was wasted because someone else had already posted something similar.

It’s the same feeling I got when I wanted to show one of my friends my “Dreaming in Key” photo – so I Googled it, thinking it would come right up. But instead, I found many others, like this one by Anka Zhuravleva, and was again, crushed. You mean someone else thought of this photo idea? I wasn’t as brilliant and creative as I thought I was? I had been so proud of myself…

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It took awhile to get over that shot to the gut, but soon I realized that just because someone else had the same idea with a timestamp earlier than my own, it doesn’t mean that my image is any less significant. Plus, I made leaps and bounds in editing skills putting this thing together. If I had seen her photo before mine, I probably would’ve scrapped my idea and done something different. And I’m glad that didn’t happen. I love the image I created.

Here’s another example. My image, “Rough Drafts” is on the left and Von Wong’s is on the right.

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I actually did get called out on this one, with a random message in my inbox reading, “Hey, you didn’t happen to see our image, did you?” Which, honestly, was pretty annoying. Not because of the message itself (which I still haven’t been able to figure out the tone…), but because the photo I ended up with wasn’t even my original idea. In the image I wanted to create, I was going to be standing on the beach with the typewriter floating in the air in front of me. I didn’t want to be sitting on the ground typing; I figured it would be too easy. After hauling it down to the beach though, it became very apparent; that typewriter was heavy as fuck, and there was no way I was going to be able to hold it in any kind of realistic position in front of me. So I said screw it and sat it on the ground in front of me instead. This wasn’t a copy – it was the result of a botched idea to begin with. An entirely new idea was concocted in just enough time to get something done as the light was running out.

And this is one of my favorite photos I’ve ever made, regardless of how similar it accidentally looks like someone else’s. Which brings me to my next point…

An Idea Is Not A Physical Object

If you stole my camera I’d have a real problem. I wouldn’t be able to take pictures, and I wouldn’t be able to pay my bills. I’d also have to buy a new camera, and in the meantime I would spend a large portion of my day figuring out what the hell I could steal of yours that would ruin your life. Not to be vindictive or anything, just because…well, I’m a little crazy.

Also I like to steal shit.

But ideas are different. Ideas aren’t all-inclusive objects that come in a nice, neat little package. If you steal my idea it’s still just a concept – it’s up to you to nurture it, mold it and bring it to realization. And if you do have the dedication and drive to bring it to fruition, good for you! That kind of work ethic should be respected, not condemned.

Just a couple weeks ago I was browsing Instagram when I came across this image, belonging to Brei Olivier (once again, fantastic work). Mine is on the left, hers is on the right.

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This is freaky – this could literally be the same model in each photo! And if I had run across this earlier in my career, I would’ve freaked the hell out. I was still so arrogant, so full of myself, that I probably would’ve thought she had copied. That there was no way anyone else on the planet could’ve possibly come up with a similar concept all on their own.

But I didn’t freak out, because of the examples above. The fact is, this kind of shit happens, and it’s no one’s fault. After I contacted her I learned that even as similar as these two images are, the thought process was even more similar. She said she was inside and wanted to practice dropping an image in the background. In my case, I was locked inside doing literally the exact same thing. So how the hell does that make mine “better”? Just because mine was “technically” posted first on some social media site doesn’t take a single thing away from her photo. In fact, if anything, it shows how similar we both are. If we ever get to meet in person, I’d have to have a pic of both of us holding up our own version of this photo – proof that we were meant to be friends from the beginning.

What’s more, are so many artists are feeling paralyzed, because they come up with an idea, see it already done and then scrap their own concept even though they thought of it with no influence from anyone else. They were just so afraid of being accused of copying, that they stop producing work. How the hell does that facilitate growth in the art community?

To be honest, I’m glad there are so many ideas already out there. Not only does it force us to be even more creative, but it forces us to develop our own specific style. Plus, it helps us discover other artists that are similar to ourselves. I have met an amazing community of fine art photographers, and I never would’ve met any of them if we didn’t all start out with somewhat similar images. We actually laugh about the fact that so many of us have similar images in the beginning of our careers:

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Yup, two of those are mine (the other two belong to Tara Denny and Two Creative Birds). What’s really funny, is the one on the bottom left is a stock image. That means there are enough images on the internet of people floating through windows that it’s become a stock image. Does that mean people are all copying each other? No, it probably means they are creating the same idea. And good for them! It’s how you learn! Is each image copyright? Of course! Is the concept of levitating through a window copyright? Of course not.

Now I’m not saying copying in general is a good thing – yes, be original, and push yourself to come up with new ideas, but don’t be so arrogant as to think that every idea you have ever had is original – it isn’t. Sometimes, believe it or not, someone else has already had the same idea and brought it to life. And in that case it’s not copying; it’s two people executing the same concept – a concept they each dreamt up without any help from each other.

Here’s another example: a few years ago, I thought of a book that I wanted to write. I wanted to interview various photographers about the best photo they haven’t taken. What was the photo? Why didn’t they take it? Maybe they didn’t have their camera, or maybe the situation was one that warranted no pictures, but I wanted to write an entire book where photographers had to describe, in words, the most amazing photo they missed. I would call it “The Photograph Never Taken.” And it would be awesome.

Then, while buying some photo gear on Amazon, the little, “Other people that bought this also bought…” tag came up, and look at what was right there, staring me in the face:

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A book, with almost the identical title, full of photographers talking about the photo they missed. 

My first thought was that this was my idea. Someone else had “stolen” it. But no, they didn’t. I only told maybe 5 people about this idea before. Surely Will Steacy wasn’t hiding in the bushes the day I decided to tell one of my friends about it. And honestly, I may even still write the book I have in my head, but this book, already being published, doesn’t take away from my own creativity. He had the same idea, with the means and resources to execute it. And I’m glad he did, because my second thought was, “Damn…I really want that book…”

So if you see one of those articles where one artist is bashing another for “copying” their idea, tell them to shove it. We don’t have copyright on our ideas, we have copyright on the result of the execution of that idea, and no one has any right to destroy another artist for having a similar artistic thought process.

How about you guys – have you ever run into this before? Have you ever seen another image that looked uncannily similar to yours? How did you feel? What did you do? I want to know!

And if you ever need someone to talk to, feel free to talk to me – I answer best through email or on my Facebook page, Jenna Martin Photography :).

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Well That Hurt: Finding Inspiration the Hard Way in Underwater Photography

Probably shouldn’t have done that…

From time to time I like to browse some of my favorite photographers’ work to see what they’ve been up to. It gives me inspiration, new ideas, and also lights that competitive fire under my ass.

But sometimes it has the opposite effect. Sometimes I see something so unbelievably good that I sink into a deep chasm of self-doubt and frustration.

Today was one of those days.

Now when it comes to underwater photography, I am obsessed. So obsessed in fact, that when I learned the cost of underwater camera housing apparatuses ($2,000?! What?!), I built my own. Hell I’ve been obsessed with water itself for as long as I can remember. I think it’s the weightlessness of it mixed with just a touch of danger. Swimming to me feels like flying – if the air could kill you at any moment.

Even in my above ground portfolio, you really don’t even have to look very hard to see watery influences. In almost every photo, there are people and objects floating around, and water is consistently a central theme. I’m either standing in it, sitting on a car in it, put someone else under it or have it coming out of an umbrella (multiple times). It’s actually pretty funny to look back and see that unintentionally, I’ve always had water somewhere in my photos.

So one of the photographers I casually stalk (read: intensely dream about working with someday) is Zena Holloway. Her work is stunning. Like, crazy good. It’s so gorgeous that it actually pisses me off on a certain level and if I ever meet her I already know she’s going to hate me because I will either completely freeze up and say something creepy and inappropriate (my default mode) or I will ask a million questions and annoy the bajesus out of her.

So two great options, really.

But last month she posted a behind-the-scenes video of one of her underwater photography shoots:

An Underwater Film: Behind the Scenes of ‘How to Spend it’ Magazine from Zena Holloway on Vimeo.

As always it’s amazing, but shortly after watching I found myself frustrated. Seeing her models gracefully pose while I consistently flail about made me think of the countless “Nailed It” moments you find on Pinterest. I should’ve known just from reading the description what I was getting into.

“750,000 litres of water
One 5m high bed
Six hours to set up
Eight hours to shoot
1,468 photographs
Nine underwater crew
Seven underwater cameras
53 seconds without drawing breath
1,609m of hair extensions
217 Valsalva manoeuvres
…and 62 wet towels!”

Holy fuck.

I spent all day yesterday setting up and shooting. My list was as follows:

One assistant
Two models
1 Camera
Dresses from Goodwill
Light from Home Depot
Bottle of Jameson

Ouch.

And then comes the self-pity party. “If only I could just borrow some designer clothes. If only I knew a qualified hair and makeup person that could do the look I’m going for. If only I had access to a better lighting system, a different lens, or a better location.”

“If only, if only, if only, blah, blah, blah, blah blah!”

See, this actually happens a lot. The pity party hits, and then I calm down and remind myself of a few solid points: 1.) All of this awesome stuff does not make an amazing photographer, these are tools that amazing photographers have acquired over the years. I’m very doubtful anyone has access to all this amazing equipment and vendors from day one, and 2.) It takes time. Photography is an art that takes for-freaking-ever to learn and there is no rushing the process. Eventually, slowly but surely, I’ll get there.

And you will too :).

Essentially, the video below is all you ever need to keep in mind. Trust me – I watch it anytime I need to pull myself out of a bit of a slump :).

THE GAP by Ira Glass from frohlocke on Vimeo.

And if I ever do get to meet Zena, maybe we can just hangout. Nothing serious, just, like, drink some tea, talk about photography, get matching tattoos…that sort of thing ;).

 

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11 Myths About Running A Photography Business

 

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I can vividly remember the first day I opened my photography business. I had spent weeks getting everything in order, from my official business license to my website to my own, handmade personal logo. I had all my release forms printed out, a folder to keep them organized and a calendar all laid out, complete with color coded markers I would use for each different session I would (hopefully) be booking in the near future.

Oh yeah…I was fancy.

I was also naive. I took advice from anywhere I could get it, regardless of the source. Fellow photographers, internet business articles and Facebook photography groups were my best source of information, and honestly, it was quite a mixed bag. There was a lot of information that was complete (pardon my french) bullshit, and I wish for the life of me there was a way to go back and talk some sense into my early photographer self. However, since I’m still not the proud owner of my very own, personal time-machine, I figured spilling the beans to the rest of you might be just as productive.

Myth #1: The Photography Market is Over-Saturated – There’s No Room For You

I heard this little tidbit countless times during my first year as a photographer: that I better have a backup plan, that I shouldn’t invest too much money into my business because it was only a matter of time before I realized it was doomed for failure.

Here’s the thing – photography is an over-saturated market – with mediocre photographers. There are plenty of people out there with cameras calling themselves “photographers” that shoot on auto and have no idea what the hell “ISO” and “DOF” even stand for. And that’s okay! Those people aren’t your competition.

Your competition is the photographer that is doing exactly the same business model as you are, which (as you’ll read in the next point) probably isn’t happening. I’ll give you an example:

There are hundreds of professional photographers in my town, but I’d say the number of truly, truly exceptional ones are under 20. Of these, they all specialize in different areas. I know of maybe three utterly fantastic weddings photographers, two unbelievably talented newborn photographers, a couple boudoir specialists, a few senior photo pros, one fashion shooter, a couple insanely talented photojournalists and one unbelievable landscape/interior photographer. Then there is me who shoots fine art. There is plenty of room for all of us. Which brings me to Myth #2…

Myth #2: Fellow Photographers Are Your Worst Enemies

For semantic’s sake, I put this as the second myth, but really it should be #1, hands down. Your fellow photographers aren’t your competition – they’re your best allies! Let me explain:

Wedding photographers, for example, can only shoot one wedding a day (and many times, only one wedding per weekend), so what happens when someone calls for a day they’ve already booked? They refer out to other wedding photographers! As a fellow wedding shooter it’s in your best interest to have a fantastic working relationship with every other wedding photographer in town. If they can’t do the job, you’re first on their referral list.

Plus, with everyone specializing in so many things, it only makes sense to work together. Many wedding photographers aren’t interesting in shooting newborn babies, but you can bet a year after a couple gets married the first one they’re going to call as soon as they’re expecting is their wedding photographer. So refer to your favorite newborn place, and in turn they’ll refer weddings to you. Why wouldn’t they? A wedding sent to you is a guaranteed client the following year!

In addition, getting to know your fellow photographers also give you the chance to collaborate with something amazing. The photographers in Billings are now some of my closest friends and I would be miles behind in business if I hadn’t gotten to know them. Besides, who are you going to share nerdy photographer humor with? Because contrary to what you might think, your cat is not laughing at your random jokes about shutter speed and F-stop.

Myth #3: You Can Finally Get Out From Behind That Computer

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Sorry folks, but not quite. As a fine art photographer, the vast majority of my time is spend sitting behind a computer screen, editing individual pixels one after the other, but it’s similar with others in the business as well. The time you spend shooting is actually a very, very small percentage of how you’ll spend your time, and most of it will be on the computer. Editing, marketing, submitting content for publishing, writing blog posts, filing, accounting, and a thousand other things I can’t think of right now because I’m in the middle of Myth #4.

Myth #4: Owning Your Own Business Means Making Your Own Hours

Oh…honey. Owning your own business means working all hours. See this is where a photography business has the exact same quality as every other small business that has ever been in existence – you’ll work far more than 40 hours/week. It takes literally every ounce of time you have to get your business off it’s feet and moving in the right direction.

Myth #5: Your Photographs Sell Themselves

Oh dear God no they don’t. I admit it’s very difficult to sell in the beginning, especially since you’re fully aware of your lack of experience in the photography arena. If you’ve only been a professional photographer for three weeks it can be very difficult to convince a client they should hire you without sounding like you’re begging. But sales is all part of the game and the sooner you learn to sell yourself, the better.

Myth #6: A Successful Photographer Makes a Lot of Money

A successful photographer makes enough to support themselves as a photographer. That is all.

Myth #7: You Should Specialize. Immediately.

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Woah, calm down there. Photography is such a vast field, it takes a while to find out what you’re truly passionate about. I’ve gone from portraits, to night photography, to weddings, to pets, to fashion to fine art and loved every one of those genres…for a while. Then I moved on to something else.

Don’t tie yourself down in the beginning. Feel completely free to branch out among other areas of photography. Try a boudoir shoot or tag along for a wedding. Attend a fine art photography workshop (hint hint: here’s an awesome one coming up soon) or take on a couple senior clients to see if that’s something you’d be interested in.

Myth #8: “Natural Light Photography” Is A Thing

Calling yourself a “Natural Light Photographer” simply means you don’t know the first thing about alternative lighting. Don’t get me wrong, natural light is fantastic (it’s definitely my preferred method of shooting), but you can’t use it as a crutch for not learning how to use proper equipment. Intern at a studio and banish this phrase from your website.

Myth #9: It’s All About The Gear

You know the fastest way a photographer breaks someone of this thought? As soon as someone comments on how amazing our camera must be to take such awesome pictures, we hand it to them and let them snap a few on their own. Everything changes after that.

Because it’s not about the equipment you have, it’s about whether or not you know how to use it. I’ve seen photographers with incredibly expensive gear take some downright embarrassingly bad photos, while witnessing other photographers take spectacular photos on their iPhones. Don’t run out and throw a bunch of money at the newest thing – it’s better to have something modest and then spend your money learning how to properly use it before moving on to bigger and better equipment.

Myth #10: You Can Do Every Aspect Of Your Business By Yourself

You know that feeling you get in the pit of your stomach when a friend tells you they’re saving money by having their cousin photograph their wedding? Yeah, that’s the same feeling every accountant in the world gets when they hear you’re saving money by doing your own taxes. Certain things (like taxes and photographing someone’s wedding) should be left to the pros.

Myth #11: You Will Eventually Get Sick of Photography

I’m not going to lie – life as a photographer is tough, hectic and never seems to end, but here’s another secret – I love every second of it. In fact, the reason my work/free time lines are so blurred is because the first thing I want to do when I have some free time is shoot!

Think about it this way: I recently had a conversation with a friend about retiring. She said she’d happily retire ASAP while I told her I didn’t think I’d ever retire. She stared at me with wide eyes until I asked her what she would do with her time off and she replied with, “Photography.”

Exactly :).

And if you ever need someone to talk to feel free to talk to me – I answer best through email or on my Facebook page, Jenna Martin Photography :).

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52 Week Photography Challenge

We’ve all heard of the “365 Project” for photographers. And while I attempt to do one every year (I’m in the middle of another one right now), let’s be honest for a second here – not everyone has the time to take and edit a photo every single day. So instead, I’ve created a 52 week project that’s a bit more realistic.

If you head on over to my Facebook page (Jenna Martin Photography) you’ll see an album titled “52 Week Photography Challenge”. I upload a single photo each week to introduce that week’s theme and then you leave your photo in the comment section! Don’t worry if you missed a particular week – just leave your photo in the comment section anyway! You all know I’m not a huge stickler for rules. ;).

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So if you’re in the mood to up your creative game, head over to my Facebook page and see what you can come up with! I look forward to all the different interpretations every week!

Skatepark: Bird’s Eye View

This is one of those photos that happened all at once. I had made up my mind to shoot another photo this night, but as soon as I drove past the skatepark I completely changed gears (get it…nice). I decided I wanted to do something completely different. So I went home, changed, and headed back down to the local skatepark and hoped there were still people there.

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There were. There were plenty of people there. The 90 degree day had slowly cooled off to the low 80’s, meaning it was just about perfect weather for a little time-killing.

Believe it or not, this was actually one of my easier photos to take. After I did the floating part, I just sat back and relaxed while I took plenty of photos of everyone else doing their tricks. Of course no shoot is complete without just a little bit of goofing around…

And then here are a few “extra” photos 🙂

Not a bad night if you ask me :).

In the end, this was the final photo. It was awesome getting to hang out with everyone, and thanks to all the people that let me photograph them doing awesome tricks!

Skatew

www.jennamartinphotography.com

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Runaway Bride

I’d actually been waiting for a cloudy day for this picture, but since the suitcases are on loan I decided last night was as good of circumstances as I was going to get, and in reality, I kind of like the way it turned out with the setting sun in the background.

I have to say, while some photographers plan their shoots to the millimeter, I tend to be more of a free spirit. I have a general idea of what I want the photo to look like in my head, but until I’m on location I never really set anything into motion. I guess you could say it all kind of comes to me in the moment. Sound cheesy? Probably, but I can’t quite think of a better way to explain it.

For this photo, I used suitcases as my prop. I set my camera up in the direction I wanted then began photographing myself until I got an image I was happy with. Fortunately (since I was quickly losing light) I hit a decent pose rather quickly, which meant the rest of the night was spent positioning my props the way I wanted them. Besides the obvious stares from cars passing by (no doubt wondering who the crazy lady dressed in white is and why she is standing on the side of the highway throwing suitcases into the air), the shoot went pretty quick. I snapped this photo right in the middle of the fiasco while taking a much needed break (it’s hard work throwing suitcases around!).

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The editing, however, is not a fast process. It’s now 4:50 am and I’m just getting around to finishing up the blog post. Here’s a little peak of my morning as the editing goes along:


While I say I have about 8 or 9 layers going in the video, the final photo ended up as a composition of 32 layers, then a few extra for effect. It all came together for this final product:

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In the end, I’m actually pretty happy with it! Click here if you’d like to see the first of the “Dream” collection, and don’t forget to visit my website or Facebook page for more!

www.jennamartinphotography.com

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Can I Get a Hottub?!

On my first outing with my underwater camera housing, I had no idea where to go. I knew the water had to be semi-clear, but I had no idea just how clear. Could there be a little murkiness? Would I maybe actually like the murkiness? How much was too much to where it would distort the image? I had no idea. So the first place I went was to Lake Elmo, a spot right here in Billings. Granted, it’s known as a giant mud puddle to locals, but I needed to start somewhere. I recruited my boyfriend’s mom, Eddy, to come hold the camera while I attempt to model underwater.

Turns out, Lake Elmo was not the best place to start. The water was so murky I couldn’t see anything more than 6 inches in front of my camera. One hour of work down, no results. Next location.

Spot #2 was the river. I figured with moving water, the fine muck and mud would be washed downstream and the water would be fairly clear. I was even curious to see what the motion would look like. But alas, it was still too murky. I could see a vague blur of color where the subject was, but there still wasn’t anything I could possibly edit. I’m still in search of a deeper part of the river where the dust and mud can settle, but for now I needed another option.

I’d already taken pictures at the pool, but everything had that blue tint. I thought it was just the background of the pool itself, so I brought a variety of backgrounds. As it turns out, the blue tint is because of the chlorine. It can taken out in post, but it’s definitely quite the process. I needed an unchlorinated spot.

Eddy explained that we could try her hottub. It was tiny, but it was unchlorinated. Sure we were going on 3 hours of wasted time and I was unsure of whether or not I could even get a photo in a tiny space, but we had to try. So I put a wide angle lens on my camera, submerged myself in barely 1′ of water and clicked away. And these were a few of the results :).

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Feel free to click here if you’d like to learn a little more about how I made my underwater camera housing :).

www.jennamartinphotography.com

Daydreamer At Heart

In all reality, I shot this photo because I wanted an excuse to wear my new white dress :).

I got it for $12 at Goodwill and I’m pretty sure it was used as a wedding dress at some point. Thing is though, it’s HUGE on me, so unless I cinch it with a belt and wear a few inches of footwear, it’s barely manageable to walk in. All that extra fabric really helps when it comes to taking a floating photograph though.

The funny thing is, this photo is nothing like how I imagined it would be. I actually arrived at the idea that I wanted to be floating away on an umbrella, very Mary Poppins-ish. Through editing though, I decided the umbrella was really just getting in the way. I didn’t want to appear that I was using the umbrella as a crutch, I wanted to be floating on my own. So hence, the umbrella got cut.

This was also done in a field close to my house and since it was taken around 5:00 am, I didn’t have to worry about getting in trouble for trespassing…which, um…I totally wasn’t.

Daydreamer

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