I have to admit, when I first started my photography business I didn’t think it was going to be that difficult. I thought I’d get a camera, take some photos, put some stuff out on Facebook and people would start hiring me. They would give me money, I would give them photos – done deal! How tough could it be?
Well…as it turns out, it was a bit more complicated than that. But most of what I could find still focused on the photos – and I was struggling more with the business side of things. So for anyone else out there still in those beginning stages, here are a few things I had known for getting your photography business up and running.
*Sidenote – most of the examples in this post are for wedding photography because that’s how I started. Now I’m a professional underwater portrait photographer. So if you go to my site and don’t see any wedding photos – that’s why. I figured these examples would be more relevant than underwater examples ;).
Price Your Work Correctly
It’s tough to come back from bad pricing. I shot my first wedding for $650, and it went awesome! That couple recommended me to everyone…as a wedding photographer that did great work and only charged $650. It took me awhile to realize I was actually losing money shooting weddings at that price. I didn’t know how to account for gear, insurance, travel costs, editing time, ordering costs and a whole lot of other stuff too. Bad pricing almost killed me in the beginning.
Finding your pricing sweet spot is kind of like a cruel treasure hunt. My advice for your first step – see what others are charging in your area. Not to compare yourself – but to research. This will at least give you a general idea of where the market is. Successful photographers aren’t shooting in a price range because they drew that number out of a hat, it took a while for them to get there, which means you can learn just as much from their price range. Here in Montana, for example, most wedding photographers stay around the $2,000 – $4,000 range. If you shoot in California or New York your average market prices are probably going to be a bit higher.
Then take a close look at everything that goes into your entire shoot – from planning all the way to delivering the photos. I’ve found that personally, between what I offer and what I have to spend (editing time, travel costs, everything), I was breaking even somewhere around $1,200.
Everyone is different, but this should give you at least a starting point.
Insure Your Gear
Chances are, if you’re just starting out, you’re spending a huge chunk of your savings (if not all of it) on new gear. You’ll need a camera and a couple decent lenses for almost any kind of photography you choose to pursue, and that doesn’t come cheap. Granted, with how fast photography technology is moving you can get a fantastic camera nowadays for a fraction of the price you’d have paid a few years ago, but it’s still going to leave a dent in your bank account. And if something ever happens to your gear (which something most definitely will), do you have the money to start over? Probably not. Insure your gear. It costs about $28/month to insure your gear with PPA. If it’s between that or a new lens, get the insurance.
Learn to Edit Efficiently
Of course you’ll want your shots to be the best they can be SOOC (straight out of camera), but part of what a client is paying you for is your post-processing skills. Skin retouching, color correcting, removing or adjusting things in the background (like fire hydrants or drunk in-laws): all these edits take time. And your time is valuable.
Try and develop a series of steps to editing, and get to know your shortcuts in Photoshop and Lightroom. For example, in Photoshop, pressing ‘B’ on your keyboard gives you the brush tool. It may not seem like much, but pressing ‘B’ instead of manually selecting the brush from your toolbar every single time makes a bigger difference than you think. The more shortcuts you use the more milliseconds it shaves off per photo, saving you hours of editing time.
And for the love of God go easy on the clarity and saturation sliders. You’ll thank me later.
Draw Up a Contract
I didn’t know I needed a client contract until a client asked for one. Whoops.
Thank God I got one though, because when you’re shooting weddings for as low as $650, you get taken advantage of, and without a decent contract there’s a couple times I probably wouldn’t have been paid at all.
Depending on what you shoot, there are countless different contracts you should be using. I shoot portraits, so I need a portrait agreement and a model release. My clients also receive digital files with some packages, so I also need a print release. I have a consignment agreement for art that is sold in galleries, plus a digital works agreement for my work that is used for book covers, websites and album covers.
For a basic portrait agreement, you’ll want to include spaces for both your company information and the client’s information, product or services to be agreed upon, deposit amount, cancelation terms (by both parties), date of delivery, and additional information, like travel fees, or shooting requirements. Almost all wedding photographers, for example, have a clause that ensures they are fed on the day of the wedding. My wedding photography contract guarantees me a piece of wedding cake because, well, I like cake.
As much as we want to believe the best in people, a handshake does not ensure you’ll be treated fairly. You’ll want at least something down on paper.
Learn to Network
A hugely significant way photographers find clients is through referrals; referrals from happy clients and referrals through like-minded businesses. A wedding photographer should be working with local wedding venues, wedding planners and jewelry stores. A newborn photographer should be working closely with local baby boutiques, delivery centers and wedding photographers. A landscape photographer should be working with local magazines, hotels and tourism centers. No matter what you shoot, there are businesses and people you need to know. Don’t be shy here – if you want to run your own business you’ve got to put yourself out there.
Contact these companies and start building a relationship. Maybe you’ll give a venue free photos of every wedding shot at their place, and in return you’re first on a short list of recommended photographers they give to couples getting married at their facilities. Think about what you can offer them and what you want in return, then ask for a meeting!
Have an Online Presence
All those people and businesses you should be networking with? Without an online presence it’s very difficult for them to recommend you. They need a website they can send clients to, a Facebook page they can tag you in and an Instagram account they can pull up to show your work. When people hear about you, the first thing they’re going to do is whip out their phones and Google you. Make sure something comes up.
Get Your Marketing Materials Ready
Since I started out shooting mostly weddings, I thought I’d hit up a local bridal fair. So I printed some flyers, set up a booth and was quickly embarrassed. My “flyers” were a joke. I don’t have an actual example, but let’s just say they looked something like this:
Needless to say I got no new bookings, and the next day I tried to create my own handouts based on a few I had seen at the fair. It was a massive failure. Turns out, creating marketing materials is much more of an in-depth process than I originally thought. I probably should’ve just bit the bullet and bought a few templates to get me started, because I was just flat out no good at it and because nothing says “I have no idea what I’m doing” more than really crappy marketing materials.
Develop Your Portfolio
They always say, “Dress for the job you want, not the job you have.” You can also apply this to your portfolio. You want it full of photos that will lead you to the clients you want, not necessarily convey the clients you have.
For example, if you want to shoot destination weddings, you’ve got to get some portfolio shots of somewhere other than where you live. My first year I took a greyhound bus to the California coast, slept on peoples’ couches and gave out free “wedding-styled photoshoots.” Clients stepped back into their dress and a tux and we took pics at the Golden Gate Bridge in San Francisco, at the beach at sunset in Los Angeles and in downtown San Diego. I came back with a treasure trove of photos that looked nothing like Montana. Now it actually looked like I had shot some destination weddings.
Be Prepared to Explain Yourself
You know why I shot my first wedding for $650? Because that’s what they said they’d pay me, because that’s what they thought was fair. They didn’t know everything that goes into wedding photography, and that’s not their fault. If you’re going to charge enough to make a living, you have to be able to explain yourself to clients who think otherwise.
Practice this before your first sales meeting. You want to be confident in your answers. You aren’t asking them for charity – you’re explaining why your services are valuable.
Figure Out if this is Right for You
People told me I’d never enjoy photography if I did it for a living instead of just as a hobby. Are you freaking kidding me?! I do not love photography any less because I get paid for it. Getting paid for it just means I ABSOLUTELY LOVE MY JOB! No way would I trade this in. All the stress, the sleepless nights, the responsibility, everything – totally worth it. I wouldn’t go back in a heartbeat!
Of course, I have friends that have gone full-time and hated it. They liked the part where they pressed the shutter button, not where clients are badgering them 12 hours after a shoot wondering where their photos are.
Running a business isn’t for everyone – and there’s nothing wrong with that! If you want something stable without all the responsibility, maybe keep your day job. If you’re like me and have gotten fired from almost every job you ever had because you have a tiny problem with authority, running your own business might be a perfect fit.
Bonus Tip: Ignore the Facebook “Pros”
Oh, dear God, virtually every photographer on Facebook is lying. Yes they may be booking clients, but they are also dealing with horrible clients and cancelations, and broken gear and unexpected business expenses. No one posts about these things because it doesn’t look great, but trust me, that doesn’t mean they aren’t going through it.
No one is wildly successful from day one – we’re all just as much of a hot mess as you are – but what people post on Facebook is meant to convince you otherwise. Don’t fall for it. Just skip over it and focus on what you need to do to get better.
And if you’re starting out and you’re a bit overwhelmed – that’s why I created PhotoFern. Meant to be a complete resource for photographers, we have classes, downloadable client contracts, fully customizable marketing templates, a combination of 300+ Photoshop actions, Lightroom presets, textures and overlays as well as a lively and supportive community all focused on the same thing: making our photography business a success. Use the code PHOTOFERN16 and enjoy your first 2 weeks free, and if you have any questions, feel free to shoot me an email at firstname.lastname@example.org or message me on my Facebook page. Be sure to follow me on Instagram and Periscope if you’d like to watch some of the underwater shoots from under the water :).
Montana water is pretty cold in winter…and spring…and…okay actually it’s pretty cold every single day of the year.
As an underwater photographer I have to admit it’s not the most ideal place for year-round shooting. But the crystal clear glacier water I have access to in the summer (although freezing), makes it all worth it.
Winter, of course, is a different story. Can’t really shoot if the water is frozen.
Which puts me on the search for anyone with an indoor pool willing to lend it to a desperate underwater photographer. Thankfully, one of the nicest couples EVER allowed me to use their pool in Bozeman for a couple shoots, so when Rocky Mountain Entertainment Agency (RMEA) had the idea to do a full model workshop complete with underwater model training…in Montana…in February…we had the perfect place!
I don’t think I’ll ever get sick of shooting with RMEA. Everyone is enthusiastic and nice – and the girls are absolute rockstars. Underwater modeling is tough, and they have to figure it all out within just a couple days. This year, we had an extra little bonus, as one of the modeling spots for my Greece workshop was still available, so one lucky model would walk away with a trip to Greece completely paid for!
The first day of these workshops is usually practice. Hardly anyone, if ever, gets it right on the first day. There’s a lot of choking and sputtering, a lot of “This sucks” and “How do you make the water not go up your nose?”
But the second day – wow! Every time it’s like a whole new group of girls show up. Everyone starts to get the hang of it, and it starts being fun! Then we can play with props, with backdrops, fun poses and outfits.
Plus, with a makeup artist like Olivia, with OMD4 Makeup (who is also the makeup artist that will be on hand for both the Greece and Catalina Island workshops this year), we get to see some really great makeup looks. The girls also had their photos taken on dry land by Katherine, from Katherine Kingston Photography (who was just a blast to work with, btw).
A few shots from day 2 of the workshop:
And the model that won a spot at the Greece workshops is…
I can’t wait for this summer’s RMEA camps!
Alright 2016, let’s chat for a sec…
Last year I wrote about my 10 Best New Year’s Resolutions for Photographers and I’m happy to say I followed most of them. I even printed my photos, which means there are photos of my husband and new daughter in my house right now as I write this. Fellow photographers I know you know what a big deal this is, so just allow me a moment to bask in the glory of all your collective high fives.
*basking…basking…basking…a few more…is that everyone?*
Ah yes, thank you. That felt good.
But as great as a hypothetical high five feels, it isn’t going to pay the bills. The reality is, no matter how amazing your photos are, if your business is struggling you’re back to the grind of the real world. Back to bartending, back to living with your parents, back to justifying your “hobby” as a legitimate career choice.
And then finally, back to nursing school.
And that’s no way to ring in the New Year. Unless your end goal really is to be a nurse…or a bartender.
Hence, instead of making another photography resolution list, I thought it wiser to make a photography business resolution list. Let’s make this the year you aren’t staying business by just the skin of your teeth. Let’s make this the year your career choice actually turns into a career.
So here they are. My Top 10 Photography Business Resolutions:
1.) Plan for Growth
Growth doesn’t just magically happen. If you want something more than what you currently have, you’ve got to hustle for it, and you’ve got to plan for it.
Gather your goals for the year and break them down. You want to make $70k this year? Great. Now how exactly are you going to do that?
If you’re a wedding photographer, for example, exactly how many weddings will you have to book per month? What months are going to be your biggest challenges, and how can you prepare for them? Do you want to take on more destination weddings? What steps do you need to take to make that happen?
After you have the answers to those questions, break them down further. And further yet.
The more you break down your larger goals into smaller, specific, detailed goals, the easier they will be to accomplish.
Then keep on it. You want to re-visit this plan a couple times each month to make sure things stay on track.
2.) Embrace Change
“If it ain’t broke, don’t fix it.”
What a horrible, horrible business mantra. Just because something currently works doesn’t mean there isn’t a better way to do things. Before this year gets too underway, sit down and take a look at every aspect of your business and see if there is somewhere that can be improved. A good place to start is with the following three principles: organize, cut, and automate.
Organize: Receipts, expenses, client contracts, project proposals, schedules, email lists
Cut: Excess gear, outdated backdrops & props, old portfolio photos, bad clients, bad employees
Automate: Social media posts, email subscriptions, website analytics, product orders, invoices
This not only clears out the clutter, but it also frees up more time. Just imagine what you could do! So much room for activities!
And speaking of embracing change…
3.) Explore New Social Media
Look, I get it. There are a million different social media platforms out there and just thinking about learning the ins and outs of all of them can be downright exhausting, but this is the world we live in. Social media is an essential marketing tool, and if you stick with the old versions of marketing, you’re going to get left behind.
At the start of this year, the vast majority of my social media marketing was done through Facebook and Instagram. Now, as Facebook reach slowly dwindles, Periscope and Snapchat have risen through the ranks. With Snapchat, I can connect with a younger audience, and show how I make backdrops and prepare for shoots. With Periscope, I’m able to broadcast live, interactive photoshoots from under the water. I can’t do that with Facebook and I can’t do that with Instagram. In fact, Periscope has been so instrumental in my business that I’m actually speaking at their next summit on a panel for photographers. Had I stayed in my tiny little social media bubble, I’d be missing out on an incredible opportunity to connect with my target audience.
So for 2016, spread your wings a bit. It is frustrating to learn a whole new social media platform, but if you want to grow your business, you’ve got to be up-to-date on the most effective marketing practices.
4.) Rethink How You Feel About Expenses
A common mistake many new business owners (including myself) make is to categorize expenses as a “debit” to their potential income. They see expenses as a bad thing, as something that deducts from the overall net profit of their company.
Expenses are investments. They are ways to grow your company. You aren’t looking for ways to eliminate expenses; you’re looking for ways to get the most return for them.
If you’re spending $100/mo on a particular serice and it isn’t doing much for you, don’t think in terms of “If I cut that service, I’ll be making an extra $100/mo.” Think instead in terms of how you can re-direct that $100/mo into a more profitable return.
Don’t cut the expenses, re-evaluate them.
5.) Network Your Ass Off
Never assume someone in a different industry can’t give you valuable advice about your own. Believe it or not, my most valuable business insight did not come from fellow photographers, but instead from authors, graphic designers, a bicycle shop owner and a professional scrapbooker (yes, that’s a real job).
Don’t limit your networking circle to people from the same perspective. Email a local business that’s been killing it lately and buy them a cup of coffee to talk business; even better if they aren’t direct competition, since they’ll be more likely to share their success strategies. Ask about their marketing campaigns, what works and what doesn’t. Ask how they keep such a high rate of return customers. Ask how they got featured in that large publication you saw them in.
Then listen. There is a treasure trove of information to be had there.
6.) Improve What You Have To Offer
It goes without saying your product or service in your 5th year of business should be more valuable than it was in your first year of business, but time alone will not guarantee it.
So improve your photography! Take a class, attend a workshop or just get out there and shoot, shoot, shoot! Create a Pinterest board of your favorite photographs and figure out why you gravitate to them. Is it the editing style, the content, or the overall feel of the image? Are they clean and minimal or busy and detailed? Are they bold with high contrast or soft and dreamy? When you know the exact elements of what you’re trying to capture, it makes it easier to apply those elements to your own work, and the higher quality your work, the more excited you are to promote it.
7.) Update Your Online Presence
Folks, we’re in the 21st century, which means technology is running our lives. If you don’t have a website (and ideally, a blog and a strong social media presence), you’re well on your way to being obsolete.
Get a website that works. You want one that’s responsive to different screen formats and has a decent mobile version. It should be easy to navigate, with links to your bio, contact information, portfolio and social media accounts. I run my website through Squarespace and I absolutely love it.
8.) Get Rejected
If you aren’t annoying someone, you aren’t doing it right. Get out there and sell yourself! I was rejected by the same company 3 years in a row before they finally took me on. They ignored my inquiries the first 2 years, sent me a rejection email last year (at least “no” is better than nothing), and then finally accepted me as a company ambassador this year. The lesson: rejection is not permanent. If you get a “no” just put it in your back pocket, improve what you need to improve and try again next year.
9.) Make a Decision Already
Your time is valuable, and standing around splitting hairs is a productivity killer. Some business decisions that take some serious thought and time to work through, but the majority are not that intense. Can’t decide on a font for that flyer? Just pick one. Stuck on a background color for your website? Just pick one. Debating between bringing muffins or donuts to the morning meeting for the love of God just pick one.
Sidenote – this is the entire reason I created Photofern.com. So often we become paralyzed by everything we have to do in addition to taking photos, like editing photos, drawing up client contracts, creating marketing materials – yeah, that’s all available for download right over here. Save yourself some time to get to the important stuff.
10.) Schedule Vacation Time
You can’t go 100% all the time. You’re literally going to work yourself into the ground. Set your email and voicemail with an automated “out of office” message and take a long weekend once in a while. Take the family out to the lake, have a crazy night on the town and spend two days recovering, or just curl up on your couch and binge-watch House of Cards.
Tune out for a bit and hit the ground running when you get back. Trust me, you need this.
Here’s to business success in the New Year!
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 :).
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!
Hope you’re all having a wondering spring, and here’s to a happy summer as well!! 🙂
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!!
On one of the chilliest days in February, two awesome friends and I set out to have a little fun out in the middle of nowhere. We spent the entire day swapping between trekking through abandoned buildings and desperately trying to warm up inside the truck. While Tony (with Big News Photography) and I were having a hard time even feeling our cameras, Kate was dancing around in little more than a cotton sundress. So it’s pretty safe to say she’s a badass.
Even though this was easily one helluva challenging day, it was also a pretty damn awesome one.
Sometimes it’s worth it just to go and shoot without having any plans beforehand :).
“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.
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. .
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…
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.
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.
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:
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:
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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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:
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
Nine underwater crew
Seven underwater cameras
53 seconds without drawing breath
1,609m of hair extensions
217 Valsalva manoeuvres
…and 62 wet towels!”
I spent all day yesterday setting up and shooting. My list was as follows:
Dresses from Goodwill
Light from Home Depot
Bottle of Jameson
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 :).
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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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
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.
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.”
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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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.
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!
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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!).
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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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 :).
Feel free to click here if you’d like to learn a little more about how I made my underwater camera housing :).
When I first started really getting into photography, the thought of underwater photos intrigued me. “How amazing it would be to capture images underwater,” I thought to myself. So I started researching exactly how one might go about putting their camera underwater, because lets be honest, this setup surely wasn’t going to do the trick (and yes, that’s one of my many beautiful cats lounging on my countertop).
But upon typing in my search inquiry, my heart sank. It looked as though there were two options: 1.) A camera bag and 2.) A housing facility. The camera bag, priced at the low end of the spectrum (roughly $100-$150), seemed to better fit my budget, but after reading the horrible reviews every bag received (“Hugely susceptible to human error”, “Leaked the first time I tried it in my bathtub”, “Leaks if placed lower than 1′ of water”, “Leaks because it’s Tuesday” ) I decided against it. I needed something substantial that put one of my most valuable possessions in as little of harm’s way as possible.
So next I took a look at housings.
For a 5D Mark II, underwater housing starts at roughly $1500 and goes up from there. $1500? I was nowhere near being able to afford $1500! I slammed my computer shut and thought to myself, “It’s okay. I just need to save up some money before I can start taking underwater photos. I can live with that.”
Except I couldn’t live with that. The thought burrowed into the back of my brain and wouldn’t leave. “Does this mean only people with $1500 lying around should be able to take underwater photos?” The more I was told I couldn’t take the pictures without proper equipment, the more I became obsessed with it. “There just had to be a way…”
And that way, I decided, was to make my own housing. I figured I could devise a structure that would allow me to put my camera inside, and I could use an automatic shutter release to take the photos from the outside. As long as all my settings were adjusted before I put the camera underwater…it was possible. So I recruited the help of my boyfriend’s step-dad, Scott, and we started to build.
The first prototype was part of an insulated cooler. I needed to have a removable lid so I could take my camera in and out. I figured we’d cut the bottom out, replace it with Plexiglas and seal any spots where water could get in. Seemed simple enough, right?
Not even close. As soon as I reached a depth over 3′ deep the Plexiglas popped off the bottom like a dandelion head. Apparently I had completely underestimated the amount of water pressure I’d be dealing with here…
Some adjustments had to be made. Instead of sealing the Plexiglas on the inside of the container, we sealed it on the outside. By pushing the small disc against the contraption to which it was already attached, the water pressure was working with me instead of against me. There were still some issues with the lid leaking (as per the water-soaked dive weights inside), so I thought an extra dose of duct tape might do the trick for now.
How wrong could I be. The bottom seemed solid, but water was still rushing in from the top. Since I couldn’t find an O-ring large enough to fit inside, I tried everything else: thread tape, weather stripping, plenty of silicone and countless other options. Sealing from the inside certainly wasn’t going to do the trick.
So we opted for an outside option instead. We tried a variety of rubber options with a combination of pipe clamps. We even tried an old bike tire, but it turned out that it wasn’t even remotely waterproof (who would’ve thought?).
Plus, water was slowly leaking in through the Plexiglas window. Somehow, it was coming in through the lid, seeping down through the insulation and coming back out through the bottom. I needed to start from scratch.
Instead of starting with something already built, I decided to design something myself. When I met with Scott that night, he showed me some of the designs he had drawn up and they ended up being almost identical to what I was thinking in my head. Since my camera measured a little more than 6″ across, I knew that would be my rough estimate of a sizing option.
The available pipe options I had locally went from 6″ to 8.5″. We took a chunk of 8.5″ pipe, a chunk of coupling and sanded some Plexiglass to barely fit into the rim of the coupling. We sealed it, placed the pipe on top, sealed it with AVS glue and used a rubber pipe cap and pipe clamp as the lid. This had to work. It was just too pretty not to!
Off to the pool I went (thanks to the Comfort Inn for constantly letting me use their pool over the last few months!) hoping this would be the one.
And the result?
It worked! It worked, it worked, IT WORKED! Thanks Scott for all your help, and be sure to click here if you want to see my first round of underwater photos :)!
Now to make a list of all the things I can put underwater…