Creating lighting styles is a lot like cooking. You start with an idea of what you want and season to taste, adding what you need as you go. Each step taken on the path to achieving the look you’ve visualized is a series of building blocks with an eventual whole that’s greater than the sum of its parts. Readers of this column know I’m a big fan of working with one light, but there are times when additional lights are called for. This month, I turn up the heat and show you what’s possible with four lights.
Finding the right light indoors can be just as difficult as on location. This article looks at a few setups for studio-lighting seniors. Each image has a pullback showing how the lights were arranged, the equipment used and the setting for camera and lights.
If changing an image to black and white is a careless afterthought, what are the chances that you’ve created a monochrome masterpiece? When we change our mindset from “I don’t know what else to do with this so black and white it is” to “I am going to create black-and-white photos today when I shoot,” a radical thing happens: Your monochrome images become more focused and striking.
To build the right post-production workflow, we have to look at what we want to accomplish as an end result and where we can save the most time. As a Lightroom user, I feel like I’ve milked as much efficiency out of this program as I can, but because of the back and forth with Photoshop, I have to create different workflows. Within these workflows, I have to rely on Photoshop Actions to streamline each edit, but what about large batches of images? We’re in wedding season and I’ve got over a thousand images ready to export out of Lightroom!
Since the first issue of Shutter Magazine, I’ve shared one article after another with ideas to help you build a stronger business. I’ve shared ideas about virtually every aspect of your business today—from your website to your blog, marketing, direct mail, education and partnerships. This month I wanted to have some fun with a series of my pet peeves and easy ways to fix them. This list is not all-inclusive. I’m doing a brain dump, and this month’s article is meant to be a free-form collection of ideas all of you can start working on immediately.
Are you sitting there wondering why your business is struggling? Why your phone is not ringing? Why your email leads are nonexistent? Are you convinced that it’s not your fault? That it’s somehow the Russians? Or even worse, all those dastardly shoot-and-burners? In this article, I show you some ways to change your “luck” and take control of your destiny. The sooner you realize there is plenty of business out there for all of us, the sooner you will start taking a healthy and realistic look at your business—because then and only then will you accept that you control your business.
A common mistake that many new photographers make is assuming they keep every dollar they make. Businesses cost money. Whether you only offer digital files or you are a full-service studio, there are still costs involved. Cameras, lenses, memory cards, computers, hard drives, ink, paper, pens, internet, electricity, gas in your car—it adds up. If you’re serious about making money in this business, it’s important to treat it as a business. That means recognizing your expenses and learning to budget for them.
Because digital cameras are complicated creatures, manufacturers have added a little gizmo so you can see if you are indeed gathering all the data and using the memory efficiently. But most photographers blow off this handy little meter as esoteric and unnecessary. That magical meter is called the histogram, and today we are going to master that bad boy to get cleaner, less noisy images.
You know me: I’m all about stopping the scroll, standing out and using dynamic maternity to build one’s brand and gain the audience’s attention. Changing things up isn’t that hard. It doesn’t require money or new equipment. It’s simply making small adjustments and mostly playing to find new ways to capture amazing images. Here are some great ways to change the game and blaze your own path.
So you think you want to become a wedding photographer? Be careful what you wish for. Yes, it’s true what they say: A career in wedding photography can be quite lucrative. For my wife Eileen and I (The Blumes), our decade-long career has allowed us to create a life of travel and comfort we never imagined. On the other hand, the vast majority of photographers who approach weddings as a golden goose get bitten, and there’s good reason for the burnout and high failure rates. This job isn’t for the faint of heart.