As many of you know, I’m a resolution fiend. I love New Year resolutions. I love making them, I love writing them down and I love re-evaluating them every few months to see if I’m on track. I make huge lists every year and then break down each resolution into smaller goals. What do I need to do each month? Each week? Every day? There’s something incredibly comforting to me about the entire process. It’s like watching the impossible slowly become possible. It’s exhilarating.
Of course if you’re not quite as resolution crazy as I am, no worries – here are my top 10 photographer resolutions for 2017.
If you’ve been following me on Instagram at all, you’ve probably seen a pattern in my most recent posts. The last few years, my husband and I have slowly been decluttering everything in our lives, from our closets to our pantry to our furniture. We no longer buy things brand new just because something old breaks. Now we question every purchase: is this going to add value to our lives or just take up space in our home?
The result has been amazing: less stress, more time, less worry, more money. I’ll tell you all about that journey later. Problem is, decluttering is a bit easier said than done when it comes to your photography gear.
I’ve come to believe that old, unused lenses are the equivalent to the “fat pants” that sit in the back of your closet. You don’t use them, you aren’t going to use them anytime soon, but you still keep them, collecting dust, “just in case”.
All of us have gear like this. I’ve got an old Rokinon 8mm lens in the bottom of my storage chest, along with a couple flashes, gels, some old photo books and who knows how many timers, remote shutter clickers, filters and random novelty photo toys I “thought” I would need but have hardly ever used once.
You don’t need this stuff. I don’t need this stuff. Sell it. Donate it. Do something with it. It’s not serving you any purpose besides taking up space.
And while we’re on the same subject…
2. Evaluate Your Gear Needs
The photography world loves to tempt you with new gear. Lighter, faster, more megapixels. Sleeker finish, new colors, silent shutter. Countless blogs will inundate you with comparisons between the Sigma 85mm f/1.4 and the Canon 85mm f/1.2. If you want an 85mm, buy an 85mm, but if you already own the Sigma f/1.4 for the love of God don’t stay up all night reading the comparisons between the two and stressing out over whether or not you should sell your Sigma and splurge for the Canon. Whatever you have is fine.
Sometimes we need new gear, and sometimes we just want new gear. We want the promise of what we think it will bring: better photographs, more clients, more money. New gear does not guarantee any of these things.
Better yet, get the gear you need, and invest your money in education. Take an online business marketing class, or attend a conference or workshop. Money spent on education (provided it’s from a legit source) is rarely wasted.
3. Rethink Your Social Media Game
In previous resolution posts, you’ve read my advice of embracing social media. I’ve told you to explore new platforms you haven’t used yet to see if they could help with your business. And while I still stand by that advice, this year I’m personally planning on moving in a slightly different direction.
Social media can be a dangerous animal, and while we as photographers absolutely need it to market our business and round out our online presence, it can be easy to get lost in the world that isn’t real.
You don’t have to be everywhere. You don’t have to post every day. It’s better to have a cohesive, beautiful Instagram timeline where you only post twice a week than it is to have a disorganized, disjointed feed because you’re desperately trying to keep up with last year’s 3x a day posting goals.
This year, focus more on taking beautiful photographs, posting when you can and living your damn life. Social media is just one of many marketing tools. Don’t get lost in it.
4. Take More Photos of Yourself
I was genuinely proud of how many photos I took of my family this year. Everywhere we went I took a few photos or a short video. At the end of the year I was so excited to go through everything until I quickly noticed one very depressing trend – I was missing in nearly everything. I have countless memories stored of my husband throwing our daughter in the air, teaching her to walk, chasing her around the house; and if I’m lucky it’s a video where you can at least hear my voice. Otherwise, it’s like I was never there.
This year, commit to not only taking more photos of your friends and family, but also to being in these photos. If that means I have to forcefully shove my camera into my husband’s hands and demand he keep clicking until he gets something in focus than so be it. 2017 is not the year to disappear behind then camera.
5. Have a Travel Camera
I spend a large part of my time outside and I hate lugging around my giant DSLR. It’s not easy to carry and it’s expensive – which means I’m stressed the entire time I have it with me. If you don’t have a problem with carrying it around than by all means go for it – but no way I’m hanging out at our local blues festival with my pain in the ass Mark III hanging around my neck. I want to dance and drink and air guitar make questionable decisions just as much as anyone else.
In that case, have a smaller, travel camera. Something small enough to fit in your pocket. Anymore, your phone might be a reasonable alternative, though personally even my new phone takes a second to focus and doesn’t work worth shit in low lighting. There are some amazingly small, lightweight and inexpensive point & shoots available now. Consider picking one of these up and make your life a little easier this year.
6. Organize your inspiration
If you’re anything like me, you spend a fair amount of time on Pinterest pinning to your various boards – and then you never look at them ever again. I have no idea why I do this. I have countless recipes pinned on my cookie board, then when it’s time to bake cookies what do I do? I search for a new cookie recipe. I could just look at the damn board. That’s what it’s there for.
I do the same with photography inspiration. Pin and pin and collect and pin. Then I never look back at it. The act of pinning to your board (or collecting magazine pages, or saving websites, or whatever it is you do) is not the final step. It’s just the beginning. This year, take some time really going through all of that inspiration you’ve been collecting and let it lead somewhere useful and productive…something like Resolution #7, for example.
7. Work on a long term project
No matter how busy you are, we all need a long term project to light that fire inside of us. Something that excites you every time you work on it. Sit down and take a close look at your newly organized inspiration we just talked about and see what strikes you.
Then, just take it step by step. No matter how large a project you’re interested in doing, just break it down and begin working on one piece at a time. If you want to make a photo book, break it down by chapter and content. What photos do you want in the book? How do you go about setting up those individual photoshoots? How can you get the maximum exposure for this book when it’s released (can these photos be shown as a gallery show to coincide with the book release)? Who can you team up with the help this process run as smoothly as possible?
If you’re looking for suggestions for the new year, consider reading my recent post on using photography for good, Philanthropy Through Photography, or consider joining our 2017: 52 Week Photography & Business Challenge.
8. Avoid the Snooze Button
We all have a photography snooze button. We know the most beautiful light is 5:30 am but we just don’t want to get up that early. The snow outside looks so beautiful to shoot in but it’s just sooooo cold and there’s coffee inside. We could put together the most amazing shoot but we have to get the wardrobe together and schedule a time with the studio and we’ll just do it later after we edit these client photos.
Stop putting off your creative shoots. Get up early, make the call to the studio, do what you need to do to get this shoots done and in the books. These are the shoots that feed your soul and keep you from burning out. You need them!
9. Narrow down what you’re truly passionate about
If you’ve been shooting non-stop all year, it can be easy to get wrapped up in the hustle. We begin taking jobs because they pay, and before you know it you’re shooting anything anyone will pay you for. This may seem exciting at first, but you’ll usually end up worn, ragged and confused by the end of the year.
As you become a better photographer, you’ve got start narrowing down what you’re actually passionate about, whether that’s weddings, families, landscapes, concerts, fashion or something else. That doesn’t mean you have to cut out all paying jobs, but it does mean you can start adjusting your marketing strategy to hit more of your target audience.
10. Print your photos
Every year I make this resolution, and every year I do make a little progress, but it still deserves a spot on the list. Print. Your. Photos. Hang them up in your house, send them to grandparents, put them in your wallet. Our process is never truly complete until you’re holding that photograph in your hand. Print your photos. I can’t stress it enough.
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?”
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.
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.
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.
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.
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.
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.
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 :).
Dear New Photographer,
I’m writing this post because I was up late last night on a Facebook forum, reading close to 200 comments about new photographers and what slime they are to the industry. How they’re stripping photography of it’s “art” and destroying any decent business practices. I read every comment, feeling more and more sick to my stomach the further I scrolled down the page.
“Who do these people think they are? Don’t they remember when they were new and making all the same mistakes?”
I know this year has probably had it’s ups and downs for you; the excitement of booking your first paid gig, the confusion of all that “must have” photography gear and the hurt and guilt of being single-handedly blamed for “ruining the industry.” I know the phrase “what to charge for engagement photos” is probably one of the first things to come up in your Google search bar, and secretly you’re still wondering why using the eraser tool in photoshop is such a horrible thing.
I also know that you’re afraid to ask for advice at every turn because for every established photographer that is willing to help, you’ve got 30 more breathing down your neck that are doing everything they can to cut you down. I’ve been there too – I’ve had my work ripped apart online by a “reputable” photographer (who went out of business earlier this year), I’ve bought things I didn’t need because some famous photographer endorsed them and I thought it would make a dramatic improvement in my work (it didn’t), and I’ve used the crap out of the eraser tool (layer mask, folks).
So what I wanted to do here is give you a heads-up. A bit of a rant mixed with some advice I wish I had known in the beginning, this is just about everything I wish someone had told me the first day I got that used and slightly beat up (but still very new to me) camera in my hands.
Beware The Vultures
– “Clients” will use you for free photos.
Countless people are about to ask you for free photos. New parents will adamantly lend you their newborn baby to “practice” on or will offer up their family to help you grow your “portfolio”. Magazines and businesses will ask for those landscape photos of yours in exchange for “exposure”. Don’t confuse these requests with paid shoots or even as complements, they are neither. These are people wanting free shit, plain and simple.
Now in the beginning, you are going to have to do some things for free – you need the experience and you need to build your portfolio – but know this: anything you shoot for free that isn’t related to what you eventually want to be paid for, or a personal cause, is a waste of your time. I knew from the beginning I didn’t want to shoot newborn photos, but I was interested in shooting weddings. So between two non-paying jobs, I took the one that added to my wedding portfolio and referred the newborn shoots to someone else.
Don’t take this to mean you should specialize immediately – you shouldn’t. You should shoot as many different things as you possibly can to try and find what your really passionate about, but don’t feel obligated to take any free job that comes along.
– Other photographers will use you as an unpaid assistant.
I highly, highly recommend interning, but the point is to get something out of it. If all you’re doing is running errands, getting coffee and carrying heavy gear, you’re getting taken advantage of.
If you’re in an internship, ask questions. Ask about the camera settings, the lighting, the posing; everything! Why are they using one light when earlier they used another? Why do they keep telling the model to put her chin down? What aperture do they shoot at for large groups? Is there a reason they prefer one lens to the other? Some of these are questions better asked at the end of a session, when the client is gone, but if you have a question, ask. If the photographer you’re interning for blows it off or won’t answer your questions, find someone else to intern for. This person is after the free labor, not in mentoring an upcoming photographer.
P.S: Look out for any mentor that requires you to sign a No Competition Clause or a waiver saying you’ll work for free for any given amount of time. If they bring this up – RUN. Oh my god, run.
– More experienced photographers will try to sell you things.
As a newbie, you are actually part of a growing market; a market where you’re willing to pay money for a short track to success, and there are a many other photographers ready to pounce. People are going to try and sell you workshops, gear, actions, presets, tutorials and more. All taking advantage of the fact that you’re willing to pay for something you don’t already have.
Now, I am a huge supporter of photographer education – the main reason I created PhotoFern.com was to help newbies get their businesses up and running. I teach workshops, give online coaching, and give away actions, presets & texture packs all the time, but you should know how to find the good ones. If you’re thinking of attending a workshop, ask to see references or testimonials from other workshop attendees. Ask to see an itinerary of everything you will be learning. Email the instructor to start a dialogue and see if your skill set is at the right place to be learning what they are teaching, and make sure any images you take at the workshop belong to you. You want to walk away feeling like you’ve actually grown in your development, knowing that all images taken by you belong to you, and that the money spent was worth every penny.
Seek Out Meaningful Criticism
– Know where to go for the feedback you’re looking for.
I love my mom and I love my fiancé, but when I’m looking for good, constructive feedback on my latest work, neither of them are the best people to go to. For one, they’re incredibly biased, and two, they know nothing about photography.
When I need good, quality feedback, I approach a successful photographer that is knowledgeable in the field my photography is in. I shoot fine art portraiture; a landscape photographer or photojournalist that loathes the use of Photoshop isn’t going to get me anywhere. In addition, neither is a Facebook, self-proclaimed photography “Pro”. Seek out the people that will give you unbiased, professional, relevant feedback. That’s how you grow.
It takes a little bit of effort to get that kind of feedback. Email a photographer you respect or try and schedule an appointment with a local gallery or editor. Sometimes you have pay for these kind of things, but it’s worth it.
– Be impartial about gathering advice, but very selective in applying it.
No matter the advice you receive, people don’t know you. I was once told that my images were far too commercial to be considered art, and I should instead pursue work in fashion. All fine and well, except I didn’t want to do fashion work – I wanted to sell in galleries. Convinced I needed to shoot more fashion, they gave me plenty of advice about how to further commercialize my images, so I sat there and I took all of it – and then did the opposite. Their advice wasn’t necessarily right for me, but the knowledge was still very valuable. Now gallery sales are a large part of my income.
– Know you probably aren’t going to like what you hear, and shut-up when you hear it.
The whole point of feedback is to get better, which usually means something you’re currently doing can be improved. It never feels good to hear you’re weak in a particular area, but the sooner it’s pointed out to you the sooner you can do something about it. I’ve stated in other posts how valuable my time at Fotofest was – not because of the positive feedback I received (I did sell 4 pieces), but because of the feedback where I was slaughtered. Brutal honesty hurts, but I learned more in two weeks than I had in two years, and my work has made a dramatic improvement because of it.
– Shrug off the jerks.
There are plenty of people out there just dying to give feedback to a new photographer, simply on the basis of cutting them down. Some old, jaded, bitter photographer that still can’t get over the fact that this whole digital “fad” hasn’t worn off yet. Yes, film is awesome, but so is digital and wet plates and colloidal tin types and God knows how many other forms of photography there are in the world today. Be very aware of the narrow-minded.
Value Business Skills AND Photography Skills
– Just because there are a lot of photographers does not mean there is no room for you.
As with any other business, the quantity of vendors does not determine the success of a new vendor. A new vendor’s success is determined by the quality of their product or service, their reputation, their marketing plan, their community involvement, their prices and countless other things. Every business is different, just as every photographer is different. Figure out what it is that you can offer that is different than what is out there already and run with it.
– Get ready to work…a lot.
I can’t honestly remember the last time I had a day off. If I’m not shooting, I’m editing, or answering emails, or sending out submissions, or planning, designing, and budgeting the next shoot. Every ounce of free time is spent doing something photography related – which is pretty awesome…mostly because I’m utterly obsessed with photography. If you aren’t obsessed though, this isn’t going to be the best career for you. You need to know your workdays will be long and your days off will be few, and if that’s the kind of thing you’re looking for, than welcome aboard.
– Use the business model that works for you.
Hey guess what, when it comes to client work, I’m a shoot-n-burner. I shoot entire sessions, edit out the best photos and give clients the digitals. It’s what works best for me. I don’t build my business around the idea that I need to make money on prints. I make money on the cost of the sessions. Could I be making more if I sold prints? Probably. Would it be worth my extra time? Not to me. I don’t want clients coming back 8 months from now asking for 8 x 10s. I’d rather focus on booking another wedding, teaching another workshop or emailing another gallery. Each of those things has a much better value to me than filling another order of 11 x 14s and 5 x 7s.
Don’t feel bad, for one second, about begin a shoot-n-burner, charging less than everyone else, shooting for free or doing anything else other photographers are going to berate you for. The fact is, you have to shoot some things for free in the beginning and you have charge less in the beginning. It would be unethical not to. You don’t have the skills, the experience or the portfolio to be charging what established photographers do. And in all honesty, if your low price is taking business away from them, they’re doing something wrong, not you.
– Raise your prices when you’re worth it.
All that shooting for free or at very low rates is no way to make a living though. As soon as you’ve got a decent portfolio together, you’ve got to start raising those prices to something more reflective of the kind of images you can produce. And yes, you’re going to lose some clients, but the truth is anyone paying you $50 for a full photoshoot isn’t a client anyway – it’s someone taking advantage of an exceptionally good deal.
– Never underestimate the value of social media.
Learn how to use social media or get left in the dust. I can’t remember the last time I picked up a magazine, saw an ad for a company, remembered that company, went home and googled them, ended up at their website, searched for whatever product I saw in the magazine, and bought that product. I can, however, remember the last time I saw something scrolling through my Facebook news feed, clicked the link and bought it. That happened earlier today.
– Other photographers are your best friends.
Great photographers slowly become more specialized over time. It’s only natural that the more we shoot, the more we begin to refine our skills in certain areas. Which means every photographer in your town won’t be shooting the same thing you are, and the ones that do, won’t all be going after the same target audience. If you’re a wedding photographer, be friends with other wedding photographers. There are countless weddings in various price points; way too many for one person to shoot them all! If you shoot weddings, refer newborns to the newborn photographer, lingerie shoots to the boudoir photographer, seniors to the senior photographer and they’ll all refer weddings to you. It’s a two-way street where everyone wins.
– Get over your goddamn watermark already.
1.) No one wants to steal your images right now. You’re not that good. There are a lot better photos out there that people could steal.
2.) Putting a giant watermark in the middle of your photo does not keep people from stealing it, it keeps them from enjoying your work.
3.) If they really want to steal it, a watermark isn’t going to stop them. Hell just last week I had to use one of my photos for a flyer, and I didn’t have the original on hand. So I took one from Facebook, cloned out the watermark and pasted it on the flyer. Worked for exactly what I needed it to do and it took all of 6 minutes. The watermark didn’t even slow me down.
4.) “But my watermark let’s people know who took the photo! And removing it shows criminal intent!” Fair enough. In that case put it in tiny letters a corner somewhere, similar a signature on painting. If it’s not taking up the whole photo people will be much less inclined to crop it out anyway.
Redefine How You Feel About Failure
– “Getting it right” is subjective.
So much about photography is finding your own personal style, and that’s usually done through making a lot of mistakes. I remember the first time I accidentally left my shutter speed too low (because in the beginning I didn’t know how fast a shutter had to be to stop movement) and a huge number of my photos were blurry – and I LOVED it! Soon I learned how to control that blur and use it in a way that I wanted. What would’ve been a complete failure by conventional terms was actually a huge step forward for me.
– Welcome the mistakes.
Learning from mistakes now will help you from making them in later, probably more crucial situations, so be a little more liberal with risks in the beginning. A mistake in your first wedding probably isn’t going to kill you; no one knows who you are and you’re shooting it for free for a family friend anyway. That same mistake at a wedding where they’ve put down $6K and you have a business and a reputation to uphold is probably going to be much more damaging.
– Learn all the rules, then break them.
As much as I hate rules, they’re there for a reason. The first time I heard about the “Rule of Thirds” my mind was blown. I quickly began rearranging all my images to fit, and I was pleasantly surprised. And then I was bored. The “Rule of Thirds” is now one of my favorite rules to break – but it’s broken with intent, not by accident. There’s a difference.
– Challenge yourself.
It’s easy to get stuck in a rut in this industry. A 365 day project or a 52 week challenge is a great way to change things up a bit. In addition, start shooting things you aren’t necessarily familiar with. If you’ve only ever shot families, take on a pet shoot. Take a drive to somewhere new and shoot a few landscapes or try your hand at some street photography. You may not completely switch gears, but you’ll no doubt learn some new skills you can apply to your current photography.
Keep Reminding Yourself Why You’re Doing This
I love my job. I love waking up every day to take photos. I even kind of love slaving away in front of the computer spending 40+ hours editing a single photo because I know at the end of it all it will be worth it. I also know that there is plenty of room in this industry for newer, upcoming photographers and the world would be a lot better place if more people loved going to work every day just as much as I do. So overall, dear New Photographer, don’t ever forget that end goal. Keep plugging along, keep learning, keep growing, keep researching, keep shooting and keep taking things one step at a time.
I can’t say that this roller coaster ever really stops, and I can’t say that you’ll ever stop feeling like a newbie, but in a way, I don’t think we ever should. The second we think we know everything is the second we should probably pack it in. I hope I’m a newbie forever :).
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Let’s open with an obvious statement, just so we’re all on the same page: photography gear is expensive.
Wait, let me clarify: photography gear is crazy expensive. I bought my camera last year with my entire saving plus whatever I had in my checking account (talk about going all in).
This makes purchasing gear that much scarier. For most of us, we either fall into one of two categories: the “Forever Sticker Shocked” or the “Expensive Disappointments” (write those down for future slow-pitch softball team names).
For the sticker shockers, we are constantly buying the cheapest gear we can find. We buy the tripod made of plastic and duct tape and pray that it will stay standing in a light breeze. We glue pieces of our camera back together and hope it lasts through just one more senior shoot. I mean for crying out loud, I spent 3 months building my own underwater camera housing. And there is no fear on earth like putting your entire, not even remotely waterproof life savings, into a homemade device that looks remarkably similar to a pipe-bomb.
Yes, I have definitely played for the “Forever Sticker Shocked” team.
But I’ve also played for the other side. I’ve sucked it up and spent money on a piece of gear I figured I absolutely needed, and guess what, it didn’t do the job either. Turns out it doesn’t matter how amazing something is, if it’s not the exact thing you’ll need it’ll still end up sitting in the corner, collecting dust.
So I’ve decided to make your lives a little easier. Included below is my entire preferred gear list, with all the specifics, that I use on virtually every shoot. I love these items so much they don’t even get checked on a plane. No seriously – I’ve had 20 minute arguments with flight attendants about the size of my bag and whether or not my tripod counts as a separate carry-on (it doesn’t, by the way, as long as it’s attached in some way to your other bag).
Camera: Canon 5D Mark II
This was the first camera I bought, and honestly, the only reason I chose this one over the gazillion options was because it was the same camera my mentor used. I also bought the one that came with a kit lens (don’t get the one with the kit lens, you’ll never use it again). I think I even had her write it down, because Canon 5D Mark II doesn’t roll off the tongue too easily when you’ve never heard of it before.
But here’s the thing – your camera is not exactly the most important item on this list. The specs are all going to improve the further up you go in price (you can bet your ass I’m counting down days for the Mark IV to come out so I can take advantage of the following price drop of the Mark III), but everyone is comfortable with something different. Hell Chris Keeney’s CK Holga 120N photos can make anyone want to go out and buy a toy camera.
Plain and simple I use Canon over Nikon, Sony, Leica and many others because I like the menus better. I like how things are set up and organized. I like a full frame sensor because it’s a better fit for my photography, and I like the clarity it produces when I stick the thing underwater. So don’t worry, if you’re shooting with something else, feel free to keep it. This isn’t the part where I try to convince you to switch over to anything.
Tripod: ABEO Pro 283AT with GH-300T Pistol Grip Ball Head
This, however, is that aforementioned part.
Most of my conceptual photos require multiple shots – which means I need a steady platform to hold my camera. On a poor quality tripod, even a slight breeze will throw everything off. The setup I have now is absolutely perfect – I love it so much that it makes me sick to even look at another tripod that doesn’t have the swivel head. You mean you have to sit there and adjust every axis to finally get to the right angle? And then what if something changes, you have to do it all over again? Screw that, I just hold down the little handle do-hickey and swivel it into place. Bada-bing, bada-boom.
Plus the tripod itself is surprisingly durable, even for somebody like me that isn’t exactly…ahem…nice to their gear. I’ve used this thing in dust, dirt, mud, saltwater and some seriously impressive winds, and it’s still rockin’ it.
My current combination came to be with a little trial and error, but if you’re looking for something similar, your best bet is to purchase a kit. The ABEO Pro 284AGH is an awesome tripod with the exact same ball head, so you won’t have to worry about buying anything separately.
Remote Shutter Release: Opteka RFT-40 Wireless Remote and Flash Trigger
Why every photographer doesn’t have one of these I have no idea. The thing costs maybe $25 and is one of the best purchases I’ve ever made. It works up to 650′ away and even shoots through walls. Plus, not to mention, I’ve dropped the handheld trigger in water countless times and the thing still works great. Half the time I put it in my mouth and trigger it with my tongue so I can keep my hands free to fluff fabric, throw things in the air, and of course, keep an eye on whatever I’ve currently lit on fire.
Computer: 27″ iMac
Scoff all you want, but this is hands down, the best photography related purchase, besides my camera, that I have ever bought. My PC crapped out last year, and after a lot of prodding from my local group of photographers, I finally just bit the bullet and got a Mac. A big one. And I can’t thank them enough. Seriously, I easily owe them all 40 beers and my left kidney for steering me in the right direction.
I’m not going to get into too much technical stuff, but the bottom line is this screen lets me see every single tiny detail in my photos, and I like the workflow better. Everything is just easier. Doing anything on my laptop kills me now.
To give you an idea of how much I love this computer, I brought it on the plane with me when I was working in New York for a month. That’s right, I hauled this giant, 27″ sucker from Montana to New York. And I’d do it again in a heartbeat.
Editing Software: Adobe Creative Cloud
Why pay several hundred dollars for Photoshop or Lightroom separately when you can $30/month (sometimes less, depending on the programs you use on a regular basis) for the always up-to-date, newest version of everything? Don’t answer that. Any argument you try to make here is futile. Switch to Creative Cloud and let’s move on.
Editing Equipment: Wacom Intuos Pro Medium
Now, for the longest time, I actually fought this one pretty hard. I just didn’t see the draw. It looked cool, but did I really need it? Was it absolutely essential to my photography business?
Turns out it is, and I feel like such an idiot for putting off a purchase as important as this one.
For those of you that aren’t quite sure what this is, let me explain. This is a tablet that comes with a “pen” that allows you to edit as if you were physically drawing on your photo. All that time spent outlining figures with your mouse (or god forbid, touchpad) is now gone. Just take your pen and trace along the edge of your photo – done.
Personally, what really convinced me to finally take the leap is how quickly obvious signs of carpel tunnel began setting in. I’d spend marathon sessions editing photos, only to find I couldn’t move my wrist the next day. My entire arm hurt, all the way up to my shoulder, and I had a hard time holding onto things with my right hand. All of this would go away in a day or two of course, but let’s be honest – these symptoms are not a good thing. If you’re going through something like this now, stop putting it off – you’re doing actual damage to yourself.
With this table, my editing time has easily been cut down but over 80%. What used to take me all week to edit now takes me one, very dedicated night.
Oh, and get the medium size. The large is too big to comprehend and I’m convinced the small size is just there to play the part of adorable little baby bear.
Now I use these two pretty interchangeably. It’s safe to say for any client work, the smaller, more manageable Heralder is my go-to bag. It’s pretty compact, but has a million pockets (I counted…1 million exactly) and they’ve all come in handy at one point or another.
The UP-Rise backpack, I’ll admit, is just flat out enormous. But it’s so light with so much storage, it’s pretty tough not to fall in love with it. I usually end up covering some serious ground to get to the landscape I’m looking for, plus who knows what crazy props and gear I’m towing along. This bag is light, comfortable, and holds whatever you can possible throw at it.
Well there is it is folks, my preferred equipment lineup. You’ll notice I’ve left off lenses – mainly because those are so specific to your individual photography style.
I hope this helps clarify any equipment questions you might have, and if you have anymore feel free to leave a comment below!
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