Finding my Niche, Giclee Prints?

[dano1]

<p>Hey all,</p>

<p>I've been struggling to find my niche for a while now. For the past year or so I've been trying to market myself as a portrait photographer, but to date I've only had one portrait session outside of the family, besides that of a few pets. Needless to say, this is quite discouraging.</p>

<p>I had a brick-and-mortar studio for 3 months in the center of a newly revitalized downtown district in a nearby village. I've had a website up the entire year, I've facebooked, twittered, handed out at least 50 business cards to people individually, another 100 or so went to other local businesses in stacks. I mentioned it to most anyone that seemed like they would be slightly interested in it.</p>

<p>Everyone I spoke with and showed my portfolio to was very pleased with my work, no questions about my quality or anything like that, you can see my website now at danophoto.net</p>

<p>At any rate, I was thinking about switching gears. I went to an Arts Fair at a local shopping center recently, and I displayed both my portrait skills and my wildlife / nature / scenic / landscape shots. Lets just say, the only person who sat for a portrait that day ($10 portrait btw) was a dog. <br /> <br />I did however sell (1) framed 8x12 of late-dusk shot of Chicago Skyline as seen from Navy Pier, (4) greeting cards, and a framed 5x7 of scene from the Black Hills of South Dakota. And I suppose that got my gears turning.</p>

<p>Let me say that I have a LOT of experience in printing. I once worked for 3 years as a photo lab manager making prints on everything from wallets on a Konica R1 to 44x66" Canvas Prints on an Epson 9600 Pro. Having this experience gives me the knowledge not only in how to print, but also in dealing with the customers I know what sells, art.</p>

<p>It's becoming clear to me now that people are more likely to purchase a photograph for the livingroom or office if it's printed on canvas or watercolor than if it's printed on lustre or any other photo paper.</p>

<p>Putting 1 and 1 together I was wondering how I should go about getting my foot in the door with making giclee's of landscapes and nature scenes, most important question being how do I find my clients?</p>

<p>Would the art fairs be a good route to start with? Or should I look elsewhere? Should I promote heavily online?</p>

<p>One last question, what about other artists? Should I venture into providing this as a service for artists to have their work done in glicee form as well? I ask this because I have a few relatives that are in the art trades.</p>

<p><br />Thanks,<br /> <br />Dan O.</p>

[Matt Laur]

<p>A few observations, and I trust you won't mind some candor:<br /><br />First, your web site. The work you're showing in the portrait area is repetitive, and shows far too few subjects. I really comes across as "these are the few people I know that I could talk into posing for me," and using the same folks several times in a gallery area that only shows a few images - that's sending all the wrong signals.<br /><br />The event area? I'd boil that down to just a handful of particularly good images. You're showing lots of very snapshot-ish, directly-flash-lit-with-hard-shadows, looking-down-on-your-subjects images that include quite a few unflattering shots of the backsides of people. Try to see those images from the perspective of someone who's thinking of having an event covered professionally, and they're imagining that that's how they're going to look, too. <br /><br />In both cases - portraits and events - you need to get in some more work. Rather than pay money for online marketing, <em>pay models</em> if you must. Want to shoot some pets for $100 instead of $10? <em>Don't even be willing to shoot a $10 dog portrait</em>. By the time you deliver that picture, you're working for well less than minimum wage, and that doesn't event take your overhead and taxes into account.<br /><br />On the landscape front: no, putting a lot of energy into trying to sell landscape prints online is a lost cause. You're up against untold thousands of people trying to do the same, and some of them have decades worth of photography to present. Your art fair experience is far more promising, because people can see those prints in person.<br /><br />On the printing-for-other-people front: you understand that you're up against dozens of well-financed labs and services that have redundant equipment, well-oiled packing and shipping departments, and (very!) expensive web sites and back-end database/accounting systems. The bar has been raised, and there's simply no reason that a person looking to have their own images printed would risk a start-up when there are shops like White House and MPIX/Millers out there who can have the finished work on their doorstep within 24 hours. <br /><br />Getting your finished work out in front of more people is the key, here. And you have to make a credible showing of it. If it's street markets and art fairs, then you need serious-looking racks, canopies, signage, and the rest. And you need a lot more, varied, and better subject matter so that the average person walking has a better chance of seeing themselves (or Fido, etc) in exactly such a finished, framed piece. <em>That's</em> when your business card goes in their hand, and that's when that person's follow-up trip to your web site should reward them with an even more impressive and varied body of work. Right now, your web site says "just getting started," and that's not helping matters.<br /><br />Have you considered second-shooting with an established local wedding/even pro?</p>

[dano1]

<p>I realize those shots are repetitive, I would would love to have a portfolio of 1,000 portraits to pull from to create my website, but I don't. Currently, I have the Fire and Ice Girls, and my family, plus my class Reunion Photos, which a lot of people liked so I have been trying to keep most of them available, though I agree some of them should be pruned, they used to be, but the site was rebuilt and that was a mishap during the rebuild.</p>

<p>As for the landscapes, I do have more than 1,000 landscapes to pull from, easily. In fact, that number is likely closer to 10,000 than to 1,000.</p>

<p>I was not intending to sell over the internet, but rather market / promote, via social networking IE facebook / twitter, etc, as this has brought in numerous visits to my sites in the past, almost all from the local area as they are from my social network.</p>

<p>My target audience would likely be a difficult one for me to break into however, these types of prints generally sell best in offices.</p>

<p>What I'm learning about my local area is that it's very portrait-heavy. We have at least 20 "Pro" portrait photographers here in the metro-area, and another 20-30 who like to hire themselves our for pennies at any chance they can get because they have a DSLR. (Remember, I last worked at a photo lab).<br>

<br />There are a few landscape / wildlife photographers in the area, the one worthy of mention is of quite formidable reputation, Nels Akerlund, who has been featured in numerous magazines and publications, including National Geographic.<br>

<br />As for doing Giclee prints for other artists, I know that many big cities have well oiled machines in this respect, well ours honestly doesn't. As a former photo lab manager at one of the 2 most professional labs in the city, I can honestly say there is room for improvement in the realm of reproduction, especially onto canvas and watercolor.</p>

<p>If you're referring to the machinery itself, when the opportunity presents itself I've seen used Epson printers of the caliber that are equivelant or better than my former lab used selling for $1,000-$3,000 on eBay, I have worked on these machines, I just repaired an Epson R1900 last month, and have replaced numerous parts in a 9600 pro. Most of them however, are fortunately in good working condition, they are either upgrading or lack a current use.</p>

<p>What I'm trying to get at with this post though is that in order to suceed, any small business person, no matter their trade, needs to set themselves apart from their competitors. I feel that my best chance of doing this is through creating Giclee prints of my nature scenes and landscapes.</p>

<p>Until I can get the machinery to do it with, I have an R1900 that I can use to make small (10x15) giclees, and I am in good contacts with my former lab, and can have work done there as well.</p>

<p>Dan O.</p>

[dano1]

<p>Just a comment on the $10 pet portrait, I wasn't doing it for the $10, I was doing it to get my name out, "$10 Potraits!" both attracts new poeple, gets them to sit for a minute, hand them my card, they get a single print, if they want more, they call me back and set up a real portrait session, that was the basic idea anyway. :P</p>

[markus maurer]

<p>I think you got some really good and honest advice here Dan and while you must improve at least your photographic skills most startup business need much more time to succeed and most go out of business because of heavy miscalculations. </p>

<p> </p>

[Matt Laur]

<p>Here's my take on the $10 portrait: Make it $0 portrait. Give 'em an invoice for $100, and write "Paid In Full" or "Gratis" on it. This helps them to establish the fact that you're a professional who just did them a favor, rather than stamping in their mind the fact that you're the "$10 portrait guy." <br /><br />I routinely do on-spec work, in the interests of broadening my experience and portfolio. It frequently brings with it real, paying business. But what I don't do is ever associate an irrationally low number with what I do. I'd much rather have someone delighted that they got a $150 dog portrait sitting for free as part of a promotional effort on my part than have them think that I consider my work to be worth minimum wage or less. Make sure you always communicate the value of your work, and make the fact that it's paid for or not a separate issue.<br /><br />I can't comment on the run-your-own-lab bit without knowing what sort of customers you're shooting for. Most of them only have expensive prints made when they're delivering, on a timetable, for someone else. You don't have pay a lab to do too many 16x20's before it's cheaper just to buy a 3880 from Epson and have total control over the process yourself. The folks who would regularly need someone to do that sort of printing are probably themselves taking the output to art fairs and similar venues. Perhaps consider making a business of helping people to set up, profile, and maintain pro-quality printing rigs in their own house? <br /><br />There are lots of IT consultants out there to help advanced amateurs with their IT rigs, but very few of those guys understand color profiling and printing rigs better than the ol' office all-in-one. <br /><br />Probably the most important thing: don't focus on just one thing. Offer services, products of interest to different client types ... diversify. And spend some $ on models if you're going to keep advertising portrait work. You can get an easy-on-the-eyes local portrait subject (especially of you're willing to do TFP/CD) for what an 80ml ink cartridge costs. Get to know a hair and makeup person, and shoot her subjects for her gratis while you work out a relationship. <br /><br />If you're going with the landscapes sold as fine art: be very aggressive in whittling those 10,000 images down to 10 or 20 for now. Each should be absolutely stunning and unusual. You'll understand that I'm basing that finger-wagging on what you've chosen to show on your web site. You have to be ruthlessly discriminating.</p>

[JDMvW]

<p>Dan.</p>

<p>From your responses, I read excuses, but not understanding of Matt's points. Pay attention to what he said. It's good solid advice, even though it cost you nothing and you may not want to hear it.</p>

<p>BTW, glicée is just a fancy marketing term for inkjet printer... A Google™ shows 850,000 hits for a search for "glicee prints". So it's not exactly a "new" term or idea, having been around since the 1980s (see Wikipedia on it). I don't think you can depend on it to 'differentiate' your product from the prints done by others.</p>

[kelly_flanigan1]

<p>Here as a Printer one of my businesses goes back to the mid 1950's in printing. We got color plotter pen plotters for color 36 inch wide posters in the mid 1980's; ie 25 years ago. Our first 36" wide inkjet was bought almost 20 years ago; early 1990's. Giclee was a hot term about 1992 in trade shows.</p>

<p>Canvas for printing was expensive eons/50 years ago for blueprints; it was expensive with pen plotters; it is expensive for todays inkjet too.</p>

<p>A roll of 24LB color bond for cheapie trade show stuff only costs about 35 dollars for a 50 yard 36 inch roll; a roll of linen can be several hundered for a 75 foot roll.</p>

<p>Folks have always wanted linens or canvas; they often do not like the cost.</p>

<p>A linen print cost more than regular prints even in world war 1; thus canvas costing more is not new either.</p>

<p>There are many many many thousands of places that own big inkjet printers; the long term trend is deflation in pricing of what one can charge the public. The price of paper; canvas/linen has gone up over 20 years; ink cost has gone up too. Printer prices have dropped. Our first 36" wide inkjet rigs with rip's were 35k in price.</p>

<p>MANY folks like canvas prints until prices are mentioned!</p>

[john_a5]

<p>As I read your opening comments, a few things ran through my head. First, do you have in your area or did you contact the small business administration to find out if there were people in your area to help you set up your business? All I could think about was "marketing", not taking out an ad here or there or networking, but actually having some sense of a plan and what to do systematically to build the business.</p>

<p>Second, selling one small print and a few greeting cards doesn't make a business! How long were you sitting out there? I am not trying to rain on your parade, but if you said you sold 50 prints and boxes of greeting cards, then you might have something to base a business on. My gut would be that in most art fairs, selling one print and some cards wouldn't pay the cost of the booth.</p>

<p>I don't find it relevant whether there are big production labs out there or not with regard to printing for other artists. What counts is can you offer a service that exceeds what they can do. There is a guy in Portland Oregon who does this out of his house and is considered one of the best printers in the area. I don't know if he really makes a living at it, but I do know that several artists use him because he does everything from the scanning, post and printing for them. They trusted him to make prints that reflected their intent. Even if you only did the printing, but offered incredible personal service, you might get a lot of business--a lot being a relative term as I don't know that you could live on it. But paying rent on a studio, only having a 1900 and no clientele, you are behind the 8 ball on this one right now.</p>

<p>Overall, reading this whole thing, I would recommend, as was above, that you get some more experience. You know how to print, get some experience running a business (managing a lab?) or shooting or something to help bring along your skills. I was 40 when I started my business. I had been at the top levels of corporations(public and private) and some were pioneers in marketing in their industries. My point is that it was still, with that experience and being a very accomplished photographer also(having work in museums and such), an incredibly hard road to establish and run a profitable business. I spent upwards of 80-100 hours a week at it and it still took several years to get in the black. Get some more experience, build up a business on the side--maybe all three of your interests above--and make a run at it all again when you have built up a base and have gotten more business acumen under your belt. Your a young guy and have the energy to work your butt off if you really want this like you will never have again.</p>

<p>Good luck.</p>

[dano1]

<p>Let me just say that my current website does not properly reflect the full scope of my work. As I started my post, I was was saying that I was attempting to promote myself as a portrait photographer, not as landscape, nature, scenic, etc.</p>

<p>I have a good 5 years of solid experience under my belt using 2 DSLRs, plus another 3 years using traditional 35mm SLR's, Twin Lens Reflex 6x6 medium format cameras, doing everything from developing my own 120 Tri-X to scanning hundreds if not thousands of my own negatives on my Nikon Coolscan V.<br>

<br />I realize I need a better site to better demonstrate my skills as a photographer as a whole, this has been a stumbling block for me for some time I'll admit. And yes, when I do build it I will boil those 10,000 images or so down to the best 10-30, you better believe it.</p>

<p>So, in that instance, I have shooting experience, that's not a problem at all from where I sit. My current website is a very poor reflection of this as it doesn't even demonstrate the subject matter I'm discussing here. I have the gear, DSLR, some good brand-name (Minolta) lenses, yeah, they're not "white" lenses, but I'm not on a 100K/year salary yet either. <br>

<br />I have a very thorough experience in editing and post-processing of digital images, both those captured directly in a DSLR and those acquired through a scanner. I use Phase One Capture One Pro 5 for my color corrections and basic editing, Photoshop CS5 for more intense work, and more importantly I know what I'm doing. I know when to only adjust the curves on the luminance channel, and how to apply a local area contrast enhancement filter using the unsharp mask tool for example.</p>

<p>And even more importantly, I know printing. I know my CMS from my ICC, I know how to apply profiles, and I know how to use a color spectrophotometer to create my own custom profiles (I would own one if money weren't so tight). While I don't own a RIP, I do own a software that provides a good 80-90% of the benefit of a RIP, minus the driver, scaling, and postscript functionalities.</p>

<p>And by Giclee I mean professional, high-quality, fine-art prints done through an ink-jet process. Anybody (and I do mean anybody) can make an inkjet print these days, not anybody can make a fine art print worthy of being called a giclee.</p>

<p>I was most interested in the work done by a Canadian by the name of Andrew Collett. I've been meaning to watch the interview done with him by Luminous Landscape.</p>

<p>All I'm really looking to find out here is what the best way to break into this business might be. I just need some basic advice on getting my foot into the door so-to-speak. Frankly, I'm not interested in a lecture on my abilities or capabilities, I'm actually confident of those and I don't need or want people telling me otherwise.</p>

<p>Thanks,<br />Dan O. </p>

[JDMvW]

<blockquote>

<p>I'm actually confident of those [abilities and capabilities] and I don't need or want people telling me otherwise.</p>

</blockquote>

<p>You want to know how to break into the business? You cite your website as an example and then say it's not?<br>

In Michael Shaara's <em>Killer Angels</em>, General Lee tells Stuart,</p>

<blockquote>

<p>You must take what I have told you and learn from it as a man does.</p>

</blockquote>

<p>No one said you didn't know how to make glicée prints, just that it was unlikely to be a differentiation from your competitors in a very competitive market. There's one real secret to "getting [your] foot into the door" and that's to offer something that makes people want to find you out and buy from you. Another characteristic of most successful people is an ability to learn from criticism. Only geniuses can get it right without help, "all others must pay cash" so to speak.</p>

[garypeck]

<p><em>Learn your craft!</em> --<br>

then your portraits will sell!</p>

[starvy]

<p>The ability to listen, in particular, listening to critique is a skill in itself. Be brave. You have invested time and money. So you are half way there. Matt has made a few pertinent points and all worth following up on.<br>

Some of your pictures are interesting but there is a lack of diversity. You might want to to try out sites where models and shooters meet, and see if it possible to find new models. New backgrounds are also useful.</p>

 

[kelly_flanigan1]

<p>Giclee and "Fine Art" really only means the customers cares a lot about their inputs; which can *ANY* type of image know to man.</p>

<p>Giclee was once that snooty term folks used; or lay folks and newbies. It really is a bit passe today; and somewhat comical.</p>

<p>It was a common term when a BBS modem ruled the roost. Print shops had 3 modems on a rotary line to recieve inputs; before the internet was used. In that era one could use CCmail to send files; or early email that had file limits of 1 to 2 megs.</p>

<p>Giclee is at best more obsolete than a Jazz or zip drive or 5 1/4 floppies. In printing I get more zip drive inputs and 116/616 negatives to scan than folks who use the Giclee word. It is one of those trendy terms that died off eons ago. I have customers who talk about DOS and Seinfeld and tombstone Macs more than Giclee prints. It is a time warp term; period term like Beatniks or Flappers or car tail fins. </p>

<p>Printing for artists can be a loss. They are mostly a broke lot. Half of them have a sixth sense of using an input a hair larger than a standard sheet or roll; thus there is more scrap. It often requires much scrap dealing with an artist; then they want a discount.</p>

<p>The world can always use another printer company. Printing high end inkjet is as old as inkjet itself; thus you enter a sea of many many thousands. To take away established printers work you can drop your prices below cost; that happens when every new guy pops up like mushrooms. *YOUR* area might have fewer inkjet operators; thus you might survive.</p>

<p>Most new businesses fail in short order due to lack of capital. If your services are viewed as just like anothers; you are only as smart as your dumbest competitor. The next Giclee printer guy after will think your prices are too high and set his lower; thus the artists who are starving will flock to the newer guy.</p>

<p>Running a business requires listening and delivering a product folks want. Giclee is an 18 year old plus thing. Think Johnny Carson still on TV and Leno just starting; the DOW is 3300. A Dream Photoshop machine used a 486. We got Photoshop for the Windows PC back in 1992; photoshop 2.5. Instead of buying an IBM we rolled our own "CLONE"; a dream photoshop machine to print "GICLEE"'s with!</p>

<p><br /> Here the term Giclee reminds me of the other early 1990's terms: "team player" ; ''Team player atmosphere" ; "all that and a bag of chips". Boy those Giclees cost many Bones; Dude! Giclee's cost more bones because they are the Top Banana. Sweet Gicees are cool beans.</p>

<p>If you use the Giclee term in todays marketing; who knows what will happen!</p>

[greg_peterson3]

<p>What's the difference between a fine art photographer and a large pizza?<br>

A large pizza can feed a family of four.<br>

Sorry. (For both the lame joke and the state of the photography business, though I'm not to blame for the latter.)</p>

 

[blake_schwalbe]

<p>Dan, the experience and abilities you mention are quite modest--not that there is anything wrong with that! Most landscape photographers have extensive experience with large format cameras or medium format digital backs. If they work with film, they would have extensive experience (directly or by using the services of a lab) with high end scanning (which is quite specialized and complicated), experience with printing on all kinds of substrates, and would also require museum quality mounting processes, and more exoteric ones, like for example Diasec on Diabond. The knowledge you mention of profiles and printing and photoshop is shared by innumerable photographers, and doesn't really distinguish you in any relevant way, nor does it have any bearing on running a business.</p>

[john_a5]

<p>I don't know, as I read the responses to the responses, I can only think back to a story I may have shared on this site before. At a landscape workshop back in the early 80's, two individuals (students) put out their work. Both had taken shots of similar areas (those areas where most landscape photographers seem to gravitate to). One person's work was so incredible, transcending the cliche, and everyone gathered around his work. Even Richard Misrach, one of the instructors, offered a print trade with the one. The rest of the evening and into the next day, the other photographer ran around frenetically complaining that he should have had just as much attention, that he was at the same places but just didn't have the same light and atmospheric conditions--it was just a matter of luck--and not skill or talent or whatever the point he was making was supposed to be.</p>

<p>In life, photography and business, we can all do many of the same things, but timing and having the right things at hand is what makes one person successful and another not--and maybe just some luck!</p>

<p>Dan, the fact is when you ask questions and don't have the tools available (your words to that effect), the work to back up what you suggest (website), then anyone addressing you has to take into account what we know--what we see and what we hear. Maybe some people don't want competition, but I believe most people give opinion and comments from places of goodwill, not contempt. Take a few days to think about what has been said and let it soak in. You seem to have a lot of drive and pride in what you do and what you can do. Just slow down and get your ducks in a row, then you will be in a position to capitalize on these things. Rushing into things is always a recipe for disaster, make a plan and start on the road to fulfilling it. Get your website in order, get the equipment you need to offer the services you feel you can excel in and build a clientele while you do it. Then, when the time is right, you can strike out not only with confidence that everything is in place, but with some base to build on.</p>

[DickArnold]

Dan. This is my simple practical experience. I retired from another field in 1996 and moved to a seacoast town. I was hired by the local paper based upon some pictures of mine the paper's photographer saw. After I started to work at the paper the receptionists wedding photographer crapped out two days before the wedding. I stepped in and posted some of the wedding11x14s in the newspaper office. That brought me a couple more weddings. This is where the money is. I then marketed through the local chamber with brochures and making sure that everyone that worked at the chamber knew who I was. My business grew for about six years to the point where I was getting other jobs like PR portraits for the local hospital, golf tournaments, re-unions etc. It all came through wedding business that brought most of the cash flow and helped me establish a local reputation. I dissolved the business because at 70 I didn't need the money and we wanted to travel. It doesn't matter who does the printing as long as it meets certain quality standards. I could not do most of my printing even though I had a darkroom because it was just too much work and I did not want to fall behind on customer deliveries. The keys to growing my particular business was being able to consistently sell my wedding customers once they got through the door of my studio, delivering on time, getting to know local JOPs and Inn owners through the local Rotary and working on town committees. I got along well and unobtrusively at weddings and the mothers and brides liked me and we communicated. I was involved in the community which brought a lot of local business, never, ever forgetting that I was there to serve my customers. I delivered on time. My standard with film was no more than two weeks and most of the time less than one. When I closed the business it was almost all referrals. I kept good books and knew where I was financially on a near daily basis. I did not buy unessential equipment and tried to get a return on investment on the things I did buy. After I became somewhat established I did not take every customer but became somewhat selective particularly when I sensed a problem customer. I used excellent equipment for the time and the work I delivered was of professional quality. You have the photographic knowledge and equipment but running a customer focused business requires good marketing skills, the ability to relate with and sell customers, on time delivery, and good accounting practices that allows you to pulse financial health on a regular basis. It also helped that I worked for the paper because that indirectly brought me business. Good luck to you. My suggest you get your head out of photography and into marketing, personal relations skills and good financial practices. Been there done that. Best of luck.

[kevin_delson]

<blockquote>

<p>Let me just say that my current website does not properly reflect the full scope of my work</p>

 

</blockquote>

<p>If true, then you have not entered the world of professional photography or at a minimum, are not even taking yourself seriously.</p>

<p>Please excuse my lack of diplomacy in that response.</p>

 

<blockquote>

<p>but timing and having the right things at hand is what makes one person successful and another not--and maybe just some luck!</p>

 

</blockquote>

<p>Your statement is entirely false.</p>

<p>Hard work, understanding the current business climate, networking, balancing the budget between marketing and selling, knowing "how to sell", "How and when to market"...knowing when to listen to advice from people other than your mother, planning and creating a growth vs. expense chart, time management.........<strong>ALL</strong> are more important than what you mention.</p>

<p>I have no comment on your work; that is best left to another forum.<br>

I will say however, I personally know several people who's photographic skills leave much to be desired; their business skills on the other hand are high caliber..They make money!</p>

[dan_south]

<blockquote>

<p>not anybody can make a fine art print worthy of being called a giclee</p>

</blockquote>

<p>Anyone who can walk into a photo lab with a JPEG file on a USB drive and a few bucks in their pocket can have a Giclée print made. Or a stretched canvas wrap. Or a Lightjet print. Or a print on fancy, trendy, German "rag" paper.</p>

<p>None of these technologies quantifies any level of skill or quality except perhaps for the technicians who actually did the printing. And unless you're living and selling photos in Timbuktu, they're not going to differentiate your prints from anyone else's.</p>

<p>One more comment to the OP: I like the lighting in your portraits. It's very pleasing. But the lighting in those "events" shots looks like harsh, direct, unmodified on-camera flash. I don't think you're helping your cause by having those shots on your site.</p>

[javier_herrera1]

<p>What Gary Peck said........It's very important that you learn your craft very very well! A lot of the big name photographers have been shooting for many many years like 10-15 years and it took them that long to be successful at it. some have God given talent and take them a lot shorter to show promise. You say you have 5 years experience but I'm in no way trying to be an ass or anything of the sort but your portraits look a bit.... well just not from someone that has been shooting for 5 years. Lighting is so important and creating images that stand out from the rest is key to catching peoples attention. I've learned from my business that you have to master your craft before you can do all the promoting and FB'ing and all that sort of stuff. Shoot Shoot Shoot intern with the best in the area if you have to, if you can. If not then just shoot shoot and study and shoot then study some more. I hope that helps. You will do well if it is meant to be good sir.</p>

[plavchak]

<p>Dan, You already got a lot of good advice. Looking at your portrait section of your website, I would look at few of them again if I was you. Looking at the Ice Hog's girls, while the lighting is not bad, the light stands, and the flash head (in one shot) can be seen. In one shot, the model looks as if she is sitting on the light stand. You really need to be mindful of your backgrounds and if missed, corrected in PP before you post it on your site. Same goes for the senior gallery. I can see your back light stand in a few of the shots.<br>

As for printing, I agree you will be hard pressed to match the big labs or even the two labs in Rockford. I don't think you will be able to match Camera Craft or Lundgrens prices and make any kind of profit. I order prints of all kinds from many different labs, WHCC, ACI, Miller's etc... I find them all to about the same as far as prices and quality goes. The only real difference I see is in what products they offer and their customer service.</p>

[robert_k1]

<p>Your "Seniors" and "Teens" galleries are all about teens. "Seniors" means something different to a geezer like me.</p>

<p>Refrain from using the word Giclee:</p>

<p>http://www.photo.net/casual-conversations-forum/00W8oq</p>

[faysal]

I think it was mentioned 3 or so times above, but I think its important to reiterate:

 

Get a model. Get someone that doesn't look like they are your friend, or your family. Get some random

person off the internet. If they don't have money, you can agree that they get a free faceshot and you get

a free model. Get some variety in your people, and try different locales. Then sell your work for more than

10 dollars a portrait. If you have to, use craigslist (make sure to bring a pistol or a knife with you). I've

sold deksktop wallpaper sized images of my work for more than $10 and I am by no means a great

photographer or businessman.

 

Remember, if Ken Rockwell can make it, so can you!

[andrew_andrews1]

<p>Dan,<br>

I think you are lacking skills in two main areas:<br>

1 - photography,<br>

2 - business<br>

If I were you I'd consider something else as a business / job. Any other ideas?</p>

<p>Regards,</p>

<p>Andrew</p>

<p>Regards,</p>

<p>Andrew</p>