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Is It Time to Expand Your Product Line?

Monday, May 1st, 2017


Is It Time to Expand Your Product Line? with Skip Cohen

Want more information on this article? Get access to video content and additional supporting images. Launch the May issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


The hierarchy of why people hire a professional photographer in the portrait/social categories goes brides, babies, pets. With brides in the number-one spot, weddings represent a huge potential for a never-ending demand for your work, plus an incredible opportunity to sell new products and services.


I want to get you thinking about some fresh ideas along with a few tried and true standbys to increase your revenue. Let’s offer your clients a greater selection of add-ons.


Before I hit you with a list of things you should be offering, let’s talk about pricing. I bet that at least half of you have priced your product too low. As Sal Cincotta once said in an old video, and I’m paraphrasing a little, there’s no greater way to screw up your business than to wrongly price your products and services.


Review all your costs. Compare what you’re offering with your competitors. Understand the margins you need in order to eat something other than macaroni and cheese every night. Expanding services and products won’t help your business grow if you’re already running below an acceptable level of profitability.


This is a shameless plug for my videos: Search my name on Lynda and check out my video on pricing. I had a lot of fun doing it, and it’s loaded with solid tips and other resources to get you on the right track.


If you don’t have a solid profit foundation to start, none of these ideas will help you very much.


Engagement Shoots


Not every idea I want to share this month is new. Here’s an old idea—one that I’m amazed more photographers don’t use.


The primary reason to always do an engagement shoot has nothing to do with expanding your product line. It’s about establishing trust with the client. An engagement shoot gives you and the couple the chance to get to know one another. It’s about relationship building. On the wedding day, you’ve already established trust, so you’re more likely to get the natural expressions you want during the shoot.


Videos, Posters, Save-the-Date Cards, Stationery


If you do a great job on the engagement shoot, you should have plenty of images for the couple to share on social media. Here’s your chance to demonstrate pure creativity.

  • Engagement videos: It’s the perfect extension of your storytelling ability as a wedding photographer. I’m a big fan of Photodex and ProShow Web. Create a slideshow from the engagement shoot, and you’ve got a great first chapter of the story of a new couple. What’s even more exciting is taking full advantage of technology and bringing together a few short video clips with still images and great music.
  • Posters: Two years ago, Marathon Press launched Bella Art Prints, which offer a great way to promote the love story you’ve been hired to capture. Think about a Hollywood movie poster starring your bride and groom. If you don’t have the design skills, find somebody in your community who does. Bella Art Prints gives you a way to create an affordable poster that becomes an extension of your product line and an amazing surprise gift to your clients.
  • Save-the-date: Use your still images to create a postcard, video or stationery in a format your clients can mail. I know this isn’t a new idea, but it is if you take control of the process. You’re the one who implements the idea, working with a local printer/design company. Marathon can help you through each step of the process.


Holiday Cards


A holiday card is the perfect addition to the albums you’re going to create for the client after the wedding. As you’re shooting the engagement and wedding images, look for that opportunity to shoot something spectacular for the couple’s first holiday card.


Shooting for the Silver Frame


I’d love to take credit for the idea, but it belongs to wedding photographers Justin and Mary Marantz. The “silver frame” refers to an image that’s so outstanding it can stand alone, outside of the album. It’s the image the parents will have on the piano or fireplace. It might be a classic portrait or simply something unusual. This is a quality image with impact that shows off your skillset.


“What’s New?”


All it takes is one phone call to your lab to ask that question. Labs are always coming up with new products and ways to share images, but you won’t know about them if you don’t ask. While walking ShutterFest gives you a chance to see new products firsthand, you don’t have to wait until April every year.


“What’s Old?”


It’s not a typical question you’d ask your lab, but while you might be tired of canvas prints, many of your clients have never seen one, let alone owned one. I have two oversize canvas prints in my home, and I’m always surprised by the response from friends who visit.


We might be tired of canvas prints as members of the photographic community, but the public isn’t close to getting bored with the idea—especially when they’re the subject in print. A great lab can print on virtually anything. This is an opportunity for your creative skills to shine.


One Big Print


When a couple is scheduled to come in to see their proofs, wedding photographer Joe Buissink creates a special surprise gift. He picks one of his most favorite images and prints it nice and big. He frames and hangs it in his studio before the couple comes in. It’s his gift to them before they even begin thinking about their album.


Here’s one more piece of brilliance from Joe. He always signs the print. Why? Because he wants them to remember he’s an artist, and artists always sign their work.


Jump Drives, Proofs, Prints and iPads


Technology has given you the ability to do whatever you want with digital files. One of my favorite digital content companies is It offers an ample collection of creative ideas for the packaging of jump drives, prints, etc. You’re the only one who can create the excitement around the services you provide. If you don’t elevate the value of the images to the level they deserve, nobody else will.


First-Anniversary Sittings


Here’s an idea I learned from photographer David Ziser years ago. He would do his best to contact every bride within a reasonable travel distance of his studio on the couple’s first anniversary. He always wanted to be the first to wish them a happy anniversary. His special gift was a complimentary portrait sitting.


The younger the bride, the more friends she has who will be getting married. This is a word-of-mouth business, and a surprise call from the photographer who shot the wedding is going to spread to every friend and family member of the bride. You couldn’t ask for better PR.


All of these ideas can help you build a stronger wedding business, but don’t forget your skillset comes before pricing. You’ll never be able to justify your pricing if your skills aren’t better than Uncle Harry’s. Your clients deserve the very best, and so do you. You’re not just working to be an outstanding artist, but, in the wedding world, the ultimate storyteller.


Want more information on this article? Get access to video content and additional supporting images. Launch the May issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Use Products to Create Photographic Longevity

Friday, March 31st, 2017


Use Products to Create Photographic Longevity with Blair Phillips

Want more information on this article? Get access to video content and additional supporting images. Launch the April issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


Today’s generation is one that is generally open and accepting to change. While that’s a good thing, it also has its disadvantages. Your business could be here today and gone tomorrow. This is something I have learned in the volume photography world. When working to acquire new business, it is frustrating for people to not be open to a new way of doing things just because it has always been done a certain way. If you are the one already providing that service, it is good to hear that. If you are the one trying to gain that business, it can be frustrating to hear that. I have found it best to create a product that they cannot imagine not having any longer if the client chose to hire someone other than me. That is exactly what we have done with banners in our market.


It is no secret that today’s youth like looking at themselves in pictures. They may not love how they look, but they sure take lots of pictures of themselves. The word selfie is now in the dictionary. We photograph all the team and individual images for every sport in every high school in two counties. That puts us in front of a ton of athletes three times a year. That is a large business, and I do not want anyone to take that away from me. These banners have helped secure my existence in this space.


We print an eye-catching banner for each individual senior in their sports environment. These banners hang wherever their sport is played throughout the season. The banners are printed on an outdoor material that withstands the elements. Seniors get to keep their banners at the end of the year. Most students tell me they take it home and hang it in their room. The banners have a brand-reflective look and design. If the images on the banners don’t get the kids excited, they won’t be as effective.


You may find that it seems impossible to convince the decision makers to let you photograph a sports team. I felt the same way when I began this venture. I went to the coach of a high school team and showed him an example of the idea I had in mind. I asked to borrow a couple of his star players to photograph as an example. This allowed me to do two things. It allowed me to show him what I could deliver to parents as an option for them to purchase. It also provided me images to work up into a banner that I could show as an example. The example is more powerful if you use one of the team’s players. Showing examples of rival teams just doesn’t get many prospective clients excited. When the coach was able to see the banner hanging on the fence and hear the response from the players, he told me that he had to have them. The icing on the cake was letting a few players’ parents see the banners. Once the parents got involved, the banners turned into a must-have product.


It is all well and good to create an awesome and highly desired product, but the toughest part is figuring out who is going to pay you for it. Some schools have booster clubs that raise a lot of money. For the schools with a good budget, the booster club buys them from me at cost. I am making my money on the team and individual images that I create and sell to parents. The banners are a way for me to give back to my schools with my skillset, rather than just writing a check that digs into my profits. The schools without much booster support have to have another option in order for the banner option to work. We sell the banners to these schools at cost too. The difference is that the parents have to buy their child’s banner out of their own pocket. If that is not an option, the students can go out into the community and fundraise from local businesses to help them hang their banner. I am a firm believer that where there is a want and a will, there is a way.


Our schools and athletes have grown to love and expect these banners season after season. We have a system and a rock-solid product in place that runs like a fine-tuned machine. The thought of them not having the banners any longer is not something that would sit well with the students, coaches, and especially the parents. I love going to the Friday night football games and eavesdropping on the families commenting about the banners. These banners have made it tougher for another photography company to step in and take the business from us. We offer the banners only to the seniors. This gives them a little more meaning. It also creates anticipation and gives everyone encouragement and motivation to make it to that senior year, when their banner will finally hang proudly. The banners represent more than just a pretty picture. We market them to stand for commitment, perseverance, dedication and skill.


The great thing about getting into the school sports market is the number of opportunities you have to sell to them. They have three seasons at the high school level: fall, winter and spring. In the fall there are two football teams, two soccer teams, two cheer squads, a golf team, two volleyball teams and two track teams. In the winter, there are four basketball teams, a cheer squad, an indoor track team, a wrestling team and a boys and girls swim team. The spring season consists of two baseball teams, two softball teams, a boys and girls track team, a golf team, two soccer teams and a tennis team. If you can acquire a decent number of these schools, you can make a good living photographing sports three times a year. The trick is to be quick, efficient and very friendly. You must deliver a product they feel they cannot live without.


Confidence is a game changer in our everyday life. It has to maintain a balance within our business lives. Lack of confidence keeps us from growing our business in the direction we want it to go. Too much confidence causes us to lose sight of what is important, which leads us to stray from the details that helped get us the business to begin with.


Confidence is something we create for ourselves. No one can take away from you what they never gave you to begin with. Let your confidence be the motivation that keeps the ball rolling. Confidence alone is not enough, though. You have to search for the right product offerings that help you stand out in your market. Only then can you apply your confidence and drive home the big sale.


Want more information on this article? Get access to video content and additional supporting images. Launch the April issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Diversify Your Portfolio With More Than Pretty Pictures

Tuesday, February 28th, 2017


Diversify Your Portfolio With More Than Pretty Pictures with Blair Phillips


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


If you find yourself having to stop for fuel late at night, you will normally look over your shoulder once or twice to be aware of your surroundings. We get so enthralled in our thoughts that we find ourselves going through life with blinders on. While I am not saying we should live in constant fear, we should live our lives with a sense of awareness. Most problems in life give us warning signs to make us aware of an upcoming problem. Think of an oil spot underneath your car in the garage. It may be very small when you first notice it, but if left alone, you could be facing huge problems down the road. We should treat our photography business the same way. Have constant awareness of where your business is, and if it’s meeting the goals you have set.


Goals are often put to the wayside as we put all our energy into simply getting through the day. We set goals to motivate ourselves and others. Setting the goal is the easy part. Actually putting the pieces in place to achieve that goal is another story.


We start off going after goals strongly, only to fall short due to our lack of awareness. It is not that we can’t accomplish goals, we just lack the awareness of our progress. Do you have weekly meetings with staff to evaluate your progress? Do you know what costs you the most revenue? If not, that should be one of your most important goals right now. You may be spinning your wheels chasing different avenues of business that do not yield the maximized profits you are capable of. Running your business with the sense of only surviving day to day will never allow you to grow toward the long-term goal of financial freedom and sanity. We should all be running our business with a goal-oriented mindset, while shaving time off the tasks we do each day.


Time is the most overlooked commodity in the photography industry. Photographers believe they are making good profit on a job, but forget that it took three times longer than it should. You must evaluate the amount of time you spend completing tasks.


If you perform a few of the same tasks each day, try this exercise. Write down each step of a task. Evaluate each step to ensure it adds value to your business or the end result. Dig deep to simplify and group together steps. Shave a little time off each task daily. You will be amazed by the amount of time you can gain by implementing this practice in your business and life. It is called lean management. Lean management is the concept of continuous improvement. It’s a way of making small changes to improve efficiency and quality. I guarantee that if you begin to work and live by a lean management standard, you will have more free time to focus on goals.


But be careful with your focus. If you focus on one thing too much, it is likely to turn into a disappointment. My studio has always been diverse. We noticed the importance of diversity about six years ago. There was a slight decline in the popularity of senior photography in our market. We began looking into other avenues that would allow us to photograph the same jobs year after year. This business would be so much easier if we had a guaranteed number of jobs. That is exactly what we have created with volume photography.


I never imagined I would be photographing entire schools, sports leagues, dance studios, preschools, cheer groups and volleyball leagues. When I saw the added security this provided my business, it was exciting and motivating. I now have a completely separate division under the same roof. Our volume school and sports division has become a large part of our business.


We still focus equally on the portrait side of our business, but the diversity gives us options. If you photograph only one genre, you need to broaden your skillset and offerings. Spread yourself around to ensure you do not become complacent in the marketplace. You can be thriving today and gone within a few moths if you are not making yourself constantly aware.


Businesses that thrive have the right people for the job. Obviously you do not want to pay someone $25 an hour to do something that is worth $10. There are companies you can outsource nearly anything to. For as much as I love keeping my dollars here in the United States, sometimes it is beneficial to outsource to a foreign country. You can hire individuals to do market research, book appointments, manage your schedule, help you find employees—anything you can imagine. These people are known as virtual assistants. You can hire qualified individuals for anywhere from $4 to $25 an hour. You pay them only when you need them.


Keep a few things in mind when outsourcing. When you send your detailed request, ask them to write you back and explain their interpretation of what you are asking for. This ensures you are both on the same page and not wasting money. Set a time constraint for every task you outsource. Use an outsourcing firm that has a team of qualified employees should your main contact fall ill. Know what your time is worth. This is the only way to know if outsourcing is worth it. Outsourcing sites include oDesk, Upwork and Fiverr (it is amazing what people are willing to do for five bucks).


Think about the measures you are putting into place to secure a prosperous future. Just when you feel like giving up, think of the number 242. That is the number of venture capitalists that Starbucks founder and CEO Howard Schultz had to pitch his idea to before he was given the chance he needed.


Think of 212 degrees also. Water does nothing at 211 degrees. Once water reaches 212 degrees, it boils. In other words, never give up. There are tons of people with an overwhelming amount of knowledge all around you. There is so much free information on the Internet to help us stay in touch with what is going on in the world. If you find yourself lost, take off the blinders. Stay on top of not only where you are going, but how you are getting there.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

5 Tips for On-Site Commercial Portraiture

Tuesday, February 28th, 2017


5 Tips for On-Site Commercial Portraiture with Moshe Zusman


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


A big misconception about portrait and headshot photographers is that they’re always shooting in a studio. They actually shoot on location pretty frequently. Shooting on location is fun for me. It is a bit more challenging, but it gives me the chance to be more creative.

Since I’m not shooting on the typical white backdrop, there’s a lot more that I have to take into account when I’m preparing, including what gear to bring and where to set up. I didn’t always have a studio, so most of my early wedding shoots were outdoors or on location indoors. Shooting on location has become routine, and we look forward to taking a break from the studio. I get to spread my wings a little.

There are five things you want to think about with on-site business portraiture.

  1. What equipment should you bring?

Because schlepping gear all over the place can be a literal pain in the butt, minimize the gear you bring on commercial shoots, but don’t give up essential equipment. For example, if I need to bring a light shaper and have a choice between a softbox and an umbrella with a baffle, I will likely bring the umbrella with the baffle. The light coming out of both is similar, but the umbrella collapses faster and is much lighter and easier to carry.

When shooting on location for a client, it’s important to know what the final product is. This helps ensure you don’t take everything you own with you. Unlike with weddings and engagements, where you tend to bring all of the typical gear that you shoot with, on-site shoots are the opposite. Ideally, you have an idea of the final product, so you can bring appropriate gear.

If you’re shooting a group shot in a small space, you probably don’t need to bring your 70–200mm lens. A 24–70mm will do just fine. All of this will help determine what kind of lighting and equipment you’ll bring. Scout the location you’ll be shooting so you have a good idea of what gear needs to come with you. If you know you’ll be shooting outdoors or next to a window, the time of day of the shoot can greatly affect what gear you bring.

  1. Pick the right location.

When picking a location to shoot, your clients’ interests should prevail. Sometimes I arrive to a shoot and my client will want me to shoot in a specific room or have a certain building in the background. Another client will have an idea of what they want the final product to be like, but no specific location in mind. In this case, I have a lot more creative freedom and get to make decisions photographically that will benefit the final image.

If I have my way, there are three things I’m looking for in an off-site shoot: high ceilings, a larger room and enough ambient light so I’m not shooting in the dark. I prefer high ceilings so that I can place my lights wherever I would like. A larger room is nice so that I can optically separate the subjects from the background, rather than just using light to do so by creating more depth in the image. Finally, a place with a good amount of ambient light is preferred so I can create a nice balance between the ambient light and my Profoto D2’s.

  1. Learn to deal with small spaces.

When I don’t get my way, I have to improvise. One of the biggest hindrances to small spaces is how they affect the way I use lights and light shapers. One way I improvise is by replacing lights with reflectors. If I want to put up a second light but don’t have room for it, I use a reflector instead since it’s flat and I can direct light perfectly. If I don’t have space for a hair light, I place my subject next to a window and use the light coming through the window as a hair light. In a pinch, I use a set of Profoto modifiers that are flat and can fit into small spaces and still work beautifully.

  1. Make it look natural even with mixed lighting.

Dealing with mixed lighting is a common problem for any photographer, whether you are shooting weddings or on-location portraiture. One of the best ways that you can tackle this is by understanding how gels work on your strobes and flashes. Gels are used primarily in two different ways, either to color correct or to color enhance. When I’m shooting on-site portraiture, I want the ambient light to nearly match that of my strobes.

Last night I shot in a garage that had really horrible lighting. It had overhead lighting and nothing but fluorescent colored light spewing everywhere. My strobes are Profoto D2’s, so they are a daylight-balanced light. In order to match my light to the florescent lights, I put a green gel over mine. It helped balance the ambient fluorescent lighting to the lighting that I brought with me for a more natural look.

A more common example is one that wedding photographers are very familiar with when shooting in a reception room. A lot of indoor lighting is tungsten, which is orange-like compared to the daylight-balanced light on flashes and strobes. To combat this, I put a CTO (color temperature orange) gel over my strobes to match the warm, ambient light of the room.

  1. Put your clients’ needs over your own creative needs.

When we shoot, whether we’re hired or not, we tend to have a vision in our mind of how the photo should look. When you’re working with a client, it can be hard finding a middle ground between their needs and yours, especially if that middle ground compromises photography rules that you’d prefer not to break.

Clients have their own vision of what they want something to look like, but because they’re not photographers, they don’t understand how to make it come to life. I talk with my clients extensively about what they’re looking to do, and try to impart my photographic knowledge into the process as much as possible. Ultimately, I’m going to do what the client wants. If it’s something that’s super far away from what I would have done or it’s not coming out right, I suggest a different angle or method. I do this only after taking the shots they want. This shows the clients another option (the better option) without stepping on anyone’s toes or making it look like you’re not flexible.

As we all know, clients have visions made of rainbows and unicorns, and will find inspiration on Pinterest of a beautiful setting with natural light and West Coast sun. Then, you’ll find you have only a basement room to work in at midnight. Communicating with clients about what is possible is an art.

Shooting on location has its challenges and rewards. It adds diversity to your portfolio that can land you more jobs.

Check out this video, in which I walk you through the photos, lighting and steps I took to create a final image for a recent commercial client.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Session Types for Seniors

Tuesday, February 28th, 2017


Session Types for Seniors with Craig LaMere


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


Before I opened my first studio, I was still coaching football and shooting out of my house, so most of my sessions were on location. That first year of shooting was all about trying to get better in hopes of making photography my living.


I remember like it was yesterday my first paying high school senior session. It was with one of the high school kids I was coaching. We had a great session, took lots and lots of images, and at the view session, his mom picked out 20 images.


I was not selling any products other than digital files on a disk. I would edit the images, burn them to a disk and head over to my client’s house to deliver the images and collect my cash. I was charging $45 for the session and a whopping $10 per image.


I had my disk in hand with the 20 images and was on my way to my client’s house. About halfway there, it hit me that I was charging $200, and felt certain there was no way they were going to pay it. So I took $50 off. Three years later when I shot their youngest son’s senior images, my clients dropped $1,900 on them.


I have had my studio open for seven years now, and, since day one, high school seniors have been a huge part of my book of business. In those seven years, seniors have changed quite a lot, but the way I shoot them, process them and structure what I sell them has changed even more. One of the great things about photography is there are a million ways to achieve results. This month, I talk about the five biggest changes in shooting styles and business philosophies I’ve experienced.


Inclusive Packages


Since I started shooting, I have gone through three types of session and package structures. The first type I tried was what I would call an all-inclusive. I had a number of set product packages, and the session was built into the package. The larger the package the client purchased, the longer the session time, product offerings and clothing changes. I had four options for my clients. The structure of the options was to drive business to the middle options. The smallest package was set to not be a good value at all. It was built to have less of a value for the time and product options you got when compared to the other options. The largest package offered the greatest value, and the largest price tag. The largest option was a very good value, but it was priced so high that not many clients would go that route. The smallest and largest packages were really just built to be bookends to the middle packages.


With the inclusive package, you are not defining the cost of the session or goods, so you have the ability to assign value to both. Inclusive sessions make it a very easy choice for the customer, as there are fewer choices for them to make.


But you are locked in to a degree. You do not have the latitude as with other session types. The biggest downside to offering inclusive packages is understanding the conversion values of products when a customer wants to do a substitution with the products or the shooting time—which, without fail, they always do. After a while of using the all-inclusive sessions, I was finding the downside: I was too locked into a system that did not give me the latitude to customize what I was offering and to make substitutions in the packages. So I decided to make a change.


Packages With Separate Session Fees


One of the things the all-inclusive clients always wanted to change, other than the products, were the session time and the clothes changes. So I decided to break the shooting times and the clothes changes out from the products. I still had product packages, but it was your choice as to how long you wanted to shoot and how many looks you wanted. I had four sessions you could buy. Each one moved up in coverage and clothes changes. Session 1 was an hour shoot on location or in the studio, and you got two clothes changes. Package 2 was a two-hour shoot, you could do half on location and half in the studio, and you got four clothes changes. Package 3 was a three-hour shoot in the studio and on location, and you got six clothes changes. Package 4 was a four-hour shoot with unlimited clothes changes.


I also added an à la carte menu. There were a couple reasons for adding it. One was to offer more products. I was very limited in products with the all-inclusive, and there were products I wanted to offer as options, but not include them in my sets since they were very specific items and not everyone would want them.


With separate session fees, I had a system that better fit my clients’ needs because I was not as rigid. The value was more definable as the session was broken out. Adding the à la carte portion gave my clients two options to choose from. They could choose one of our packages and call it a day, or they could add some products we did not offer in the packages they wanted.


I found that some of my issues from the all-inclusive carried over. One issue was the shooting time for the larger sessions. When you are shooting three and four hours, you wind up with a shitload of images. Because I was an in-person sales studio, I would show 200-plus images at the view and order session. This made for a two- to three-hour session. I also realized that I was overwhelming my clients. Instead of thinking they were able to buy 20 killer images, they left thinking they had to leave 180 images on the table that they loved.


The biggest negative with this system was the same negative I had with the all-inclusive. Even though I gave my clients à la carte options, they still wanted to do substitutions for the package products. It was at that point that I made my biggest switch.


Pick Whatever the Hell You Want—No Mess, No Fuss


After using the separate session fee system for a few years, I have moved to a completely à la carte system with one sitting fee. I don’t offer any packages. I made the change when I moved into my new studio. I wanted to reinvent the way I was doing a lot of things.


First, I decided I needed only one session. I have a shooting routine, and it is not a three- or four-hour shoot. Why sell something they don’t even want? I have no idea what I would do with a four-hour session. My sessions are about an hour and a half long, or two hours if we have to do studio stuff with the location shoot. We move really fast. The shoots are guerilla style these days. My seniors, especially the guy seniors, love the pace. We get in, we get out and we are off to the next place.


As far as clothes changes go, whereas in the past I had limited the number of outfits, today it is unlimited. I tell my clients to bring at least five clothes changes and more if they like, and we will shoot as many of them as we can in the time we have. Because I mostly sell books and albums, it makes no sense to limit the looks. I tell guys they can just change a T-shirt or shorts so they don’t freak out on the outfits. Girls can come up with five looks without blinking. Because of the fast pace, I’m able to get to five locations with five outfits in the new session time.


As far as products go, I have about everything under the sun. We offer paper prints, canvas, acrylics, metals, books, folios, albums, standouts and even the dreaded digital files. We have so many options, I felt it was much better to go to an à la carte system where clients could choose exactly what they want and spend as much or as little as they desire. And, finally, no substitutions.


While I can’t think of a lot of negatives with the system, one is getting past clients used to the new anti-package system. When people think of getting a package, they think big savings because they are buying in bulk, and à la carte carries the stigma of having to pay more.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Creative Senior Portraits That Sell

Tuesday, February 28th, 2017


Creative Senior Portraits That Sell with Melanie Anderson


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The March edition of Shutter Magazine is all about seniors, one of my favorite subjects. It’s about the ability to create with a client who, for the most part, actually wants to be there, wants to be photographed and is willing to try new locations. Senior clients tend to be more trendy, a bit more made up and all about showcasing their own style. They appreciate cutting-edge products like metal and custom albums and books.


I have several favorite products for my senior clients. We sell a ton of canvas wall portraits. My goal is for their images to showcase their personality and style. Remember to show what you want to sell, because you will sell what you show.




Metal is sporty and edgy. These extreme sports images are a huge hit at our studio. The metal has a grungy appearance, enhancing the overall feel of the design.


Canvas is classic but modern. These are my favorite style of wall portraits. Because I photograph mostly outside, the canvas allows the texture and color of the locations to add to the overall look and feel of the portrait.


Framed shots are classic. I don’t include the glass with the frame. I prefer the image to shine through. We mount and luster-coat all our framed images for durability and quality.


Albums capture a variety of poses, expressions, outfits and backgrounds in one product.


Brag books are fun and small, showcasing a variety of images. Moms love these because they fit in their purse and display nicely on a desk at work, allowing them to show off many images in one creative design.


Announcements showcase a variety of images for graduation and other milestones. We sell these in 5×5 and 5×7. We suggest that extended family members can frame them if a client’s budget is limited.


Signature books are our version of the yearbook. They allow family and friends to answer fun questions about their favorite times together.




Another way to make a senior feel great is through posing. Be mindful of your posing. Think about portrait standards with the S-curve and the C-curve. Pose females on their back leg. Be mindful of body frame and curves. This curve slims the client. Other slimming methods are to pull the arms away from the body and “turtle-necking”—the neck helps slim the client, thus avoiding rolls underneath the chin. A C-curve is more masculine and used mostly with males. Females can pose with the C-curve, but males cannot pose with the S-curve, which is just too feminine.


Most photographers have issues with posing clients and their hands. I’m constantly asked what to do with them. I tell all my clients, both male and female, to put their thumbs in their pockets and keep their fingers relaxed. It’s always the standard pose for my clients unless the client is sitting. In this case, I have them rest their hands in their lap, usually crossed at the wrists. I ask males to appear causal and relaxed.


For expressions, I strive for a smile in the eyes, or a more serious look. I have conversations with my clients while photographing. The camera is my eye, ready to capture that interaction that comes only from responding to whatever it is I am saying in the moment.


Being a fast and intentional shooter also helps with my senior portraiture. These young adults often come into the studio nervous about how they will look in their photos. When I take photos with intention and show previews from the back of my camera, it lessens their anxiety and allows them to relax. Here is when personality comes out and real smiles are shown through pictures. Making your seniors feel beautiful and special makes them look good, but also makes you look professional.




The following locations each offer a different vibe and style.


Urban alleyways, stairs and brick walls offer an edgy style. We utilize the natural environment around our studio. One of our alleys is even labeled “Anderson Alley” because of how much we frequent it. The great thing about our location is that we have a variety of alleys, each with different colors and shades of bricks and natural textures, giving seniors options and us a choice when matching clothes to backgrounds.


A field, park, weedy backlot, lake or ivy-filled area offers a boho and carefree approach to senior photos. Female fashion trends all go for this look, so these environments are very hot now with our senior models. We accompany these photos with sun rays or bokeh to enhance the beautiful light.




Outfits are important. We tell our seniors to pack their whole wardrobe. Girls bring suitcases and guys bring backpacks. We match outfits to personality, background and even emotional attachment. These are photos they will have for the rest of their lives, so the outfit they are wearing can make or break a photo. We tell our seniors to bring solids, casual outfits and a few dressier options. This allows me and my staff to choose from a variety of outfits for any situation.



Action Plans


  • Create an extreme sports metal piece as a “sample” to begin showcasing this style.
  • Be intentional with your posing.
  • Try new locations.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Alternative Marketing & Branding for High School Seniors

Tuesday, February 28th, 2017


Alternative Marketing & Branding for High School Seniors with David Beckham


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Alternative Marketing and Branding for High School Senior Photography – David Beckham

Branding: The marketing practice of creating a name, symbol or design that identifies and differentiates a product or business from other products or businesses in the same market.

Branding requires investing in someone to help you create and design a logo and then tie that logo into all of your packaging and marketing, with perfect colors and text fonts, ribbons and bows and fun little things that identify you. Is silver blue glitter and AvantGard BK BT text how you really want people to identify you? Yes, you should have some consistency in all of those things, but let’s examine what is most important. We’re going to look at big-picture branding and how to use it in marketing to seniors and their parents.

First, you need to decide how you want others to identify you. Think about that for a minute. What is it for you? Fun experience? Beautiful art? Traditional and timeless? Or is it “I don’t know yet. It changes all the time”? Once you decide what it is, you need to make a plan to ensure you achieve and complete your brand.

Recently I stopped branding my social media posts of my senior models with my watermark. I soon received many text messages and comments like, “I knew that was your work before I saw who posted it.” Ah, success. For me, the most important aspect of my brand is top-quality photography with natural, clean edits. It’s posing that flatters the subject with fashionable, cutting-edge style. I want people to say, “Beautiful” and, “That has to be Beckham” when they see my photos on Instagram or Twitter. There are some other things I want them to say about me, too—that he is involved in the community, genuine in character and his work is the best.

Quality Photography – Because you are reading this and attending events like ShutterFest 2017, you are already on the right path to improving and defining your art. I teach and speak nearly 10 times a year, but I also attend classes to improve my craft. The second you think you are good enough, slap yourself and seek someone better than you for help. Quality photography is an ongoing process.

Fashionable, Cutting-Edge Style – A couple of years ago, I stopped at a magazine rack because I’d seen an article about the new homecoming fashions. (I opened it and glanced around me to see another man my age with a College Football Preview and another guy with a hunting magazine.) You need to stay on top of it. If you are thinking about doing flower crowns and parachute skirts, you have already missed the chance to be cutting edge. I use my senior models all the time to get new ideas. Follow local and national fashion photographers, and see where they are going. Better yet, get on Instagram and see which photographers your senior models are following, liking and commenting on. You will be surprised and may be inspired.

Natural, Clean Edits – My goal with editing has been that the photo in the camera is so close to what I want the finished image to look like that I can pay a high school photography student to do my edits. I strive for the five-minute edit. That means a complete understanding of lighting and my equipment. It also means attention to the details of the pose and surroundings so that I never have to fix it in Photoshop.

Unique Locations – My top four locations this past year were wildflowers, waterfall, country and urban. Find places. Get permission. Be unique.

Beautiful – You can bring out the beautiful in everyone by understanding body language and posing, by knowing your clients and by knowing what outfits work best on different body types.

Be Involved, Be Genuine – My senior model program gives back. I talk about that later in this article. You need to be yourself with young people. They can see through fake faster than our new president claims he can.

Be the Best – I started competing in contests like SSG Hot 100 and PPA print competitions a couple of years ago. There is no better way to get better than by putting yourself out there, even if it means getting torn down. In the process, you build yourself back up again. You can’t count on your friends and parents of the seniors you photograph for unbiased, growth-promoting feedback. It can be a punch in the stomach when you see work that is better than yours and hear why yours isn’t that good. But realizing the flaws and correcting them will make you a better shooter. Hearing your peers say that you have created something extraordinary is the ultimate compliment. There will be nothing more rewarding for your senior models than to be published in a national magazine or to win a national contest. The buzz that comes back to you on social media is immeasurable.

Marketing: A form of communication between you and your customers with the goal of selling your product or service to them.

Now, how do you market this brand you’ve created? Google is still the number-one way to be discovered. That means getting to the front page of Google is still the ultimate goal. There are many elements that go into the formula to make that happen. The largest is getting people to your site. So, simply put, every item of marketing needs to get people to your website to increase your chances of being on the first page. The old Rod Stewart and the Faces song “Every Picture Tells a Story” is my mantra (EPTAS). I let my work do most of the talking on social media.

Website – There are many easy-to-use webhosting services that can make your website look professional. For me, it’s Squarespace. When you go to my website,, you see photos. When you click on a photo, it takes you to even more photos—EPTAS. No slideshows, no music, just what I believe is my best recent work, in an easy-to-navigate format. The site gets updated often since active sites get more attention in search engines.

Video – Every year, I make a promo video. I hire an excellent video guy who guides me through its creation. My latest one was made to look like a music video with Jessie singing a cover of “Photograph” by Ed Sheeran. She sings. I do a voice-over that is a conversation with the potential client about all of the elements I am building into my brand. The video has lots of excellent drone footage, great locations, beautiful imagery and fashions, but the hook is in the last 60 seconds. That’s the part that makes Mom get teary eyed and realize I am the right person to capture her daughter’s senior portraits. The last thing you see is the images that we shot while creating the video—EPTAS. The video is the first panel you see on my website, and my YouTube channel links back to my webpage. Here is the direct link:

Direct Mail – Yes, direct mail. Would you spend $1 to make $4.31? Of course you would. How about $5,100 to make $22,000? That’s a tough call there. I have a 16-page 8.5×11-inch, full-color magazine that is packed full of photos—EPTAS. The mag, of course, has a link to my website, and I also dedicate a page of it to the video that’s released the same week. Not only does the mailer attract new clients, but it builds my brand as beautiful high-quality photography, cutting-edge fashion, natural, clean edits, unique locations and being the best. I ask every client how they found me. Fourteen of them listed my mailer as the only reason, and another 20-plus listed it as one of the reasons. I will gladly drop $5.1K to reach 4.7K potential clients to get that kind of return. I’m not ready to spend that on a web designer or someone else to create my brand.

Apps – I use MyPhotoApp. It has a call button and a link to my website right on it, and the apps are so easy to share. There are others, too, like Sticky Albums and ShootProof.

Social Media – Build a presence on all social media. Reach the parents on Facebook. Reach the youth on Instagram, Twitter, Snapchat and Pinterest. There are so many things written about when and what to post; you don’t need this article for that. But for me, 95 percent of the time, I post my best work—EPTAS. Each social media profile has a link back to my website. And since Squarespace makes it so easy to update, I often add a page there with multiple photos of the shoot I just posted about on Instagram. Then I mention, “For more photos from this shoot, see my website! The link is in my bio.”

The Best Friend Shoot – I offer my senior models an opportunity to bring their best friends in for a session while they are still sophomores and juniors. This allows the friends to see how fun it is to be photographed at David Beckham Photography before they’ve chosen a photographer. I photograph them as a group and one-on-one with each friend. I take one photo of the friends individually and edit it the way I would if they were my client. The photo is watermarked and resized and I gift it to them. I make a separate page for “Sydney’s Best Friend Shoot” on my website. I post a photo on Instagram and tweet another, and tell them there are more photos on my page.

Sports and Groups – This is an excellent way to meet new clients. When I shoot sports posters, I follow my same guidelines of clean edits and not a lot of Photoshop magic. What I do differently is take some fun shots of the athletes with their teammates. I capture the shoot on Snap Story and send out one or two photos on Twitter, Facebook and Instagram. In these posts, I direct them to my website for more great photos from the event. A couple of years ago, I started taking headshots for the musicals at two high schools. This has been huge. I print 8x12s at no charge. They offer me a full-page ad in their programs. I get to meet all of these great young people, and actually hand-pick the best of the best to be my senior models when they are still freshmen and sophomores. So, many of the actors become senior clients as well.

Senior Model Program – I wrote about my program in my last article. I use photos of my models for most of my social media posts since they get digitals as part of their package anyway. One of the big draws of my program is that we are very active with promotional shoots and social service projects. We raised over $10,000 last year to purchase food for the homeless. I took groups of models to shelters 13 times, and we purchased, prepared and served over 2,800 meals. We raised so much last year that we were also able to donate pots and pans and other equipment to soup kitchens. I don’t overpost about these activities. I want the people who donate to know we are using their money correctly, but more importantly, I want to show that giving back isn’t about accolades. You can read all about my program at

All of these marketing practices will help get you to the front page of Google without blogging or paying Google for an advertised spot.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

Diversity in Your Business

Tuesday, February 28th, 2017


Diversity in Your Business with Skip Cohen


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


With this month’s theme being “Seniors,” it’s the perfect opportunity to talk about diversity in building your business. Seniors can be an incredibly strong revenue component, and they can push your creativity.


Photographing a high school senior is all about personality. While the yearbook might require a standard pose and Mom wants a more traditional portrait of her little angel, the market is all about defining the subject. From their hobbies, friends, sports, music and special interests, you’ve got an opportunity with every senior to capture so much more than a well-exposed headshot.


There are plenty of writers and educators on this issue to help you work with seniors and get great images. I want to talk about it as a building block in your business.


Let’s start with my regular reminder of why people hire professional photographers. The top three reasons are brides, babies and pets. This data comes out of a Kodak survey from over 20 years ago, but I don’t believe it’s changed.


Here’s what I think today’s list looks like. Beyond the top three are children, family, seniors, business and boudoir. This month’s theme is in the top eight reasons for people to hire a professional photographer.


A lot of photographers and educators believe you need to be a specialist in just one category. I don’t totally disagree, but there are some incredible opportunities you leave behind if you take that approach. Every photography business owner needs a few secondary specialties that logically connect to your core business.


Let’s talk about a specialty in wedding photography to start. To be a great wedding photographer takes a unique personality and a comfort level in knowing you have minimal control—over your subjects, the environment and the clock. You’ve got no opportunity for a second chance with most of the images you capture. You either get the shot or miss it, and another magical moment is coming up almost as fast as you can click the shutter.


But that’s only part of the challenge. You’ve got to know how to tell the story. A wedding photographer needs to have excellent editing skills and be an outstanding storyteller. The wedding album isn’t just a book of photographs, but the first heirloom of a new family.


And there’s the keyword: family. The average age of a bride in the United States is 25.3 and the average age of a woman when she has her first child has risen to 26.3. Statistics on the average age of a bride are all over the place, so the data may be a few years old, but it doesn’t matter.


Think about your experiences with friends and relatives. It’s likely that within two to three years after marriage, there are some new members of the family being born. That means the status of your bride and groom is going to change, and new photographic needs are on the horizon.


Families mean babies and children. Families often mean pets. Babies grow up to be children and seniors. During the process of the family growing up, Mom and Dad might have a business, and their photographic needs expand beyond the immediate family. There are needs for updated headshots, along with publicity for events, real estate and even insurance photographs. And somewhere in the process, they may want a boudoir shoot.


I look at the cycle starting with the wedding, but wherever your skill set fits, you can diversify and expand into other specialties. If you did a great job on the wedding, why not be there for the photographic needs of the family as it grows?


Let’s go back to seniors. What I love most about the senior market is the potential for you as the artist to be creative. Every senior is a blank canvas waiting to express herself and share who she is.


Great senior photographers are relationship builders. They don’t just come in, grab the headshot and move on. There’s an opportunity to bring out the very best expressions with each subject, but only if you focus on building the relationship.


As I’ve written before, great senior portraits are about the photographer’s ability to listen. It’s about building trust and then capturing images that showcase the personality of the senior.


Senior and school photography are not easy to get into. There are contracts for underclass photography that can go back years in a community. It’s a tough market.


But senior photography has changed so much over the last decade. It’s more like lifestyle photography when you look at the finished results. A senior photographer isn’t limited to just a headshot. Because it’s a younger audience, you can get creative with a high-impact slideshow with contemporary music, and even hybrid slide shows with video.


Breaking into the market takes time. A good starting point is to get a few seniors in front of your camera. These first subjects are going to be your ambassadors and help get the word out, but your work has got to be the best, and sittings need to be fun. This is where your relationship skills come into play.


Look at what everybody else in your community is doing, and then do something different. Great slideshows play a role, especially if you’re capturing the personality of the senior, their interests and the fun of the session.


Put together the story the same way you’d do a slideshow of a wedding. Include still images and short video clips all put together with great music. Remember, each presentation you put together is also a marketing piece.


Think about offering a day-in-the-life shoot as part of your package. Day-in-the-life shoots capture the story so much better than just a few images. It doesn’t have to be an entire day—just four hours, during which you capture images that tell the story of who they are, their friends, interests, family and hobbies.


The images, when put together in a small album, will give you something different to share as a finished product/service. This is storytelling at its very best, and who better to tell the story than you as an artist?


And that brings me full circle. Seniors become adults, and another cycle starts. They get married, start families, build careers. There are logical connections for every photographer in the portrait/social world to step into the cycle wherever it makes sense—as long as your skill set matches the needs of each specialty.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

High School Senior Photography for Boys

Tuesday, February 28th, 2017


High School Senior Photography for Boys with Phillip Blume


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.


One of my earliest childhood memories is sitting on my mom’s lap listening as she sang “Let’s Hear It for the Boy” to an audience of one. The audience was me, her biggest (or, more accurately, chubbiest) two-year-old fan. The 1984 Footloose hit lives on today as an anthem for momma’s boys everywhere. And I was most definitely a momma’s boy.


My family never had much disposable income, so my sisters and I had few professional portraits made over the years. Sure, a school photographer shot our annual portraits, but even those fell outside the rigid family budget. This year, my mom actually tracked down the daughter of our old school photographer, and, fifteen years after I graduated, finally placed her order for my senior portraits.


There was nothing flashy about my senior portraits—well, perhaps the borrowed tuxedo top I wore over plaid shorts against a blue backdrop. (The image, of course, was cropped above the shorts.) Yet my mom remembered and coveted those portraits throughout my life. Fifteen years and 14 grandchildren later, she still cares and finally owns them. And I’m still her momma’s boy.


Are you fully tapping your senior market by attracting boys? They and their mothers value the product you offer. Or do you, like most photographers, notice a huge surplus of female subjects? Come on already. Let’s hear it for the boys.


Here’s my list of strategies to help you appeal to more male senior clients. If I have the ratio right, adding boys to your bookings may nearly double your senior business.


  1. Direct mail


For most of our clients, direct mail is not a good marketing option. Blume Photography specializes in weddings and newborns. For all his snooping around, the postman still can’t predict wedding dates or due dates. But for seniors, it’s a different story. There’s a lot of information available about household makeup, and through direct mail you can target households that have kids in school within a particular district. How powerful is that?


There’s a huge benefit in marketing to boys this way. Even though you can’t know the gender of kids within a household you market to, I guarantee you boys are more likely to respond to your mailer than they are to the marketing pieces they see at school. Why? Peer pressure.


Even if your marketing pieces look fantastic, no kid will dare pick one up if it isn’t “cool.” And it ain’t “cool” for boys. First, their friends are mocking them for even entertaining the idea of a photo shoot. Believe me, kids in high school are even more aware of the female trend in senior photography than you are. Senior portraits are “for girls.” But if you can reach a good momma’s boy at home, he (and his mom) can unabashedly view and consider your call to action: Book now.


Search the Internet for easy direct-mail services offered by companies like infoUSA or even USPS. They’ll help you get started. Then make sure your marketing photos feature a male subject, even if the picture is secondary to one for your target female audience.


  1. Stylized portraits


When I was studying photojournalism in college, we called these “conceptual portraits.” As photojournalists, we steered clear of Photoshop. There was no tolerance for modified images; they had to be 100 percent “real.” But once in a while we got the chance to work on conceptual portraits, imaginative photo graphics to illustrate ideas. What fun. My favorite was a portrait I created of a local coffee roaster, whom I Photoshopped buried under a mountain of coffee beans.


Stylized portraits may not represent your typical brand or personal style, but it’s always fun to branch out a little. Fewer guys than girls are interested in a “vanity” shoot, to look cute or improve their self-image. But a lot of guys are obsessed with the sports they play, the bands they’re in, the cars they drive.


Make a presession questionnaire part of your senior workflow, and find out what your subjects are into. It doesn’t have to be the main thrust of your shoot, but take some time to feature what’s important to them. If you typically don’t touch off-camera flash during your bright, airy senior sessions, take the leap and start creating a few edgier high-contrast shots on the football field in front of those Friday night lights.


Remember, boys aren’t the only ones obsessed with sports, music and cars. You’ll probably start to see demand for this type of session from a whole new segment of the high school girl population you didn’t even know existed.


  1. Business partnerships


The most direct inroad to reaching a new client is often the most obvious. Don’t miss what’s right under your nose. What physical businesses do your target clients already visit? How can you reach those clients in those places by offering value to that business? These are the kinds of questions you need to ask before building a marketing strategy for any service you provide.


In reaching high schoolers before their senior year, we realized kids that age all go to the orthodontist. So we created a business relationship with an orthodontist that makes the doctor look good to his clients and adds value to his practice. We create high-quality gift certificates through the terrific Simply Color Lab, which we then gift to the orthodontist. He gives the certificates to his patients (well-qualified leads with disposable income) as a thank-you gift after removing their braces. And guess who receives that gift certificate directly? You got it: Mom, the holder of the purse strings and the lover of her baby boy.


As a result, we photograph as many, or more, boys than girls. It’s an introduction to our process, and we load their mommas up with information about Blume senior sessions while they’re here.


So what’s on our certificate? It doesn’t say, “Enjoy this free headshot from Blume Photography.” The certificate reads, “We invite you to enjoy this personalized session with award-winning Blume Photography Studios, compliments of Dr. X.” It’s from the doctor. This kind of marketing gives us the chance to talk ourselves up, but gives the good doctor all the credit while adding value to his services. What business would turn that down?


These are simple 10-minute headshot sessions at our studio. (Before we built our studio, we took headshots in front of a simple backdrop in our living room.) The sessions book up easily. We include a free 8×10, get additional sales via our amazing ShootProof online galleries, and tend to book a lot of senior and family sessions afterward.


  1. Male-focused products


Notice I didn’t say “masculine” products. I’d like to think I’m as tough as the next guy (or gal), but many of us can probably relate to not fitting the mold of “most masculine guy in high school.” I don’t think you need a completely different product line for the guys. But it does help to be aware of items that may appeal to guys more than girls.


The foundational products in our studio are senior coffee table books (from Graphi Studio and VisionArt Books) and gallery-wrapped canvases (from Simply Canvas). Favorite add-ons are personalized mobile apps (created easily right inside ShootProof) and graduation announcements (from WHCC).


Follow the trends in your sales. Boys seem more interested in leather book covers, whereas girls want photo covers. We offer both, but it helps to know when we’re creating a sample book for show.


Although boys seem to be less enthusiastic about sharing mobile apps with their faces plastered across them (you can view exactly how many downloads your apps get from ShootProof’s admin side), they do seem to order more graduation cards than our girls. During in-studio sales sessions, moms often force their girls to order announcements, while our boys more often seem excited about this product. I’ve wondered if the difference relates to the culture of sports card collecting and trading. When it comes to designing cards with a stylized portrait, they definitely take on that feel.


You can bet we’ll be experimenting with new print products (maybe something closer in size to a baseball card, maybe with stats on the back) for guys. How could this help you market to the whole sports team? Never stop thinking or innovating.


  1. Customize the experience


I never want any portrait subject of mine, boy or girl, to feel awkward. Even more than the finished images, I believe the way they feel about the experience in front of my camera is what matters most. That is what will sell your business: not just your portfolio, but the emotions clients carry away with them and talk about to their friends.


For girls, there are several go-to methods of creating an experience they won’t forget. Providing hair and makeup, for example, makes girls feel pampered and fulfills the expectations that magazines plant in them about what a professional photo shoot should be.


What about boys? What will make them go away talking about you? I tend to guide them into things I myself enjoy. We climb to out-of-the-way locations (whether it’s really necessary or not). I force fewer smiles and ask for more of those confident “James Dean” expressions. They aren’t wearing heels, so I get more active and shoot a faster shutter speed while they jump or run for action shots. If it suits their personality (do they go mudding or play football?), don’t even hesitate—make a bucket of mud and plan to get dirty for the last shot of the day.


Finally, don’t forget to create at least one good portrait of Momma and her boy (preferably before the mud starts flying). She’ll refuse, but remind her it’s a rare opportunity, and no one is going to force her to use it if she doesn’t like how it turns out. That alone can guarantee an extra sale for you, and an extra-meaningful image they’ll both cherish all their lives.


Want more information on this article? Get access to video content and additional supporting images. Launch the March issue of the magazine by logging in or signing up for a free account by clicking here. Shutter Magazine is the industry’s leading professional photography magazine.

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