mark_harrington1

Look up incidence of reflection....

<p>First, most "models" don't stand a chance in hell of getting a paying job. Obviously this model is a freelancer and/or starting out or she would be working on assignment or the representing agency would arrange the images. Having said that, it is not desirable for a model to submit a portfolio with logos etc to the potential client. Provide the model with a 9X12 finished print for her book and a low-resolution watermarked image for her on-line use. Give her a specific license agreement that dictates use of image for self-promotion only and don't adjust the day rate. She only needs a one copy of each look for her use. You can even just give one copy, but never two of the same set/outfit/style. IF the images are for your own self-promotion, this is a great way to get your name out, if the images are for publication, your contract with the publisher will dictate usage. In either case, you don't have to give her images if she is paid, but it is customary and the best way to develop a professional relationship with the model, with whom future projects may occur.</p>

<p>Pixel count has little to do with image quality. The more pixels there are the larger the native file size from the camera. This means you will be able to enlarge the image more without image degradation. There are many excellent images taken with 6mp cameras. Remember its only the last several years that cameras went beyond 12mp. Dynamic range, noise and proper lens selections are much more important unless you plan on printing billboard size images...</p>

<p>I believe that the average consumer couldn't distinguish between a well composed image taken by an amateur or professional. Having said that, if the amateur does professional level work why does it matter? Being a professional photographer is much more than just using a high quality camera and using the rule of thirds. Its about color harmony, attention to detail, using light to sculpt a subject not just light a subject, proper posing to accentuate or hide aspects of an image. It's a blend of technical expertise, artistic vision and the ability to execute both under pressure. Even the most seasoned photographers are faced with challenging lighting scenarios but knowing how to overcome those challenges and never let them see you sweat is the difference in my opinion. The industry is full of fauxtographers, mamarazis and gwc's all claiming to be pros. Many of these photographers take an insane amount of images in hopes of capturing the one image that speaks to the viewer, which if they take enough, will be there. A well reasoned businessperson learns how to take as few pictures as possible to create that image, this comes from knowing your craft and the best way to learn something is to be dependent upon it for your survival. One of the biggest ways to instantly judge wether a person is a true professional is in how the images are presented. Do you post the images online with a gallery of 500 images or do you bring the client into your studio for a viewing and sales session of 25 (weddings, perhaps 100)? Do you show all 5 images of the the ring exchange or just the one? Are your images fully retouched and ready to order or do you require time to retouch them once they are selected? Do you have a business license, insurance and contracts, or do you just 'wing it'? Questions such as this are what separates a "professional" from someone who sells pictures....</p><div></div>

<p>You will have some dof issues if shooting wide open. Not only will your dof be very shallow at 1.4 but your critical focus will have to be exact. Studio portraiture isn't sports but subject movement can cause oof issues. Also, the main reason aside from the ability to capture in lower light and bokeh is that lenses are sharpest stopped down 1-2 stops from maximum aperture. So if you need maximum sharpness in your subject, you will accomplish that at wider aperture with fast glass than with consumer grade lenses. A 1.4 lens will give you better quality at 2.8 than a 2.8 lens at 2.8 and so on. Most modern DSLR's can yield better results at higher ISO than was typical with film or earlier dslrs, making extremely fast lenses for low light much less important, but still the ability to really create a smooth, buttery bokeh (which is lens dependent) requires an open aperture. If you want a nice portrait lens consider the DC 105 or 135 options which allow you to select your own level of shaprness.</p>

<p>It could well be a composite image, but my guess is that the photographer used a slow shutter speed and had a crystal chain that he slowly swung in front of the lens to create the shoot thru effect you are seeing. Notice how the couple, and background elements behind the crystal are sharp yet the foreground distortion (crystal) shows motion blur? Can't say for sure which because both would be easy to recreate, just need someone to swing a beaded strand of crystals and play with it until you get the right combination that works for you. </p>

Think about it this way, you need one great picture for your portfolio, you don't get that by shooting 1,00 images an hour. Take your time, make sure your lighting, posing and composition is what you want it to be, then click the shutter. If you pay attention to all the details and follow the stuff the teachers are telling you, you should be able to get the shot in one try, unless there's a blink or some other distraction. An effective tool is to use a tripod so you can more accurately see what other elements are in play and you can just concentrate on the details, clicking the shutter when the moment is right<div></div>

To be clear, my reason for posting the image - which I fully acknowldege and intentionally selected - was to post an image where photographers of all skill levels could find something in the image to relate to from their own shoots. I chose this image because it had many good qualities and some areas that were not ideal (perspective, negative space and crop for example). But the image also has some good elements and is typical of many wedding scenes. I wanted this image to be discussed and used as a tool to help emerging photographers see what the more experienced photographers see as good points and bad points about the image. This is the way that I'm used to critiquing and recieving feedback. Every image has good and bad in them, even sealed images. A one or two sentance critque is not only unfair to the image maker, it offers no opportunity for others to learn from. Editorial comments like an image isn't professional is not only discouraging to others who may not do work at this level but insulting. I have the knowledge to find good and bad points in virtually any image a person may choose to post, but I always find something positive to comment on, or at least offer some suggestions for making the next image more effective. Through all of this I was just trying to breathe some life into this forum and to open a constructive conversation in hopes of encouraging others to join in. Image critiques can be hard on the ego, which is more than acceptable so long as the critiques do not come across without reasoning or explanation. I make a challenge to those who feel my images are not professional to post an image from their last wedding. I will use all of my knowledge and experience to offer a professional critique. I promise to back it up with well documented professional standards (i.e. Compliance with acceptable skin tone ranges, appropriate focal length of lens, appropriate lighting for the subjects, proper light patterns and a few other technical and artistic evaluations). This would not only help others understand the skill level of the submitter but it will also increase the activity level of this forum. In an open forum like this, there is no way to know ther validity of a crtiquer's comments. Anyone can state a level of expertise and perhaps they have it but how do others know? Lack of images in a person's portfolio speaks volumes. I have and will provide the credentials to make qualified critiques so there is no doubt to the basis of my observations. After seeing more than one thread lamenting the demise of this forum I wanted to help bring some activity back so that others can get involved as well, its that simple. I haven't been active in this forum for years but I cared enough to put myself out there, now its time for the regulars to contribute as well.

<p>Bob, I have no issue with your suggestion to use a ladder, I often carry a small step ladder with me along with a collapsable wagon for my gear. This image was taken at a golf course and it was quite a walk from the clubhouse, not making excuses, but it really was a last minute must have request and we were out of time. <br> Best regards, my issues were not yours.</p>

Another crop to consider.<div></div>

There is very little variety in your shots, same basic point of view, same distant unconnected upward facial view keeps us from making a connection. Your strongest image is the last one in the greenhouse. If she had better facial posing it would have been a definate keeper. The remainder of the greenhouse images are too centered, too much depth of field and you need to pay more attention to the background elements that appear to grow out of the subjects head. Look into Rule of Thirds for subject placement and your images will instantly improve if followed. Shoot both portrait and landscape for versatility. Your exposures are dead on but too much dof. Good color balance shifting a bit to yellow but acceptable on my iPad. Most look like you were close but hampered by basic rules broken but without a reason.<div></div>

Another thought, its not just the location, its how the model interacts with the location. Take the image by the broken window, instead of a basic glamour pose (straight arm should have been bent) turning the model's face into the light for a 2/3rds view which would give you a short light pattern (good for women :)) and putting the left hand on the top of the window or lightly on the window pane and the lower hand doing the same with the bottom of the window you can ask the model to give you a forelone look, then an insecure expression, a sense of anticipation as if she's waiting for a secret lover or have her cast her gaze down and sensually stroke the side of her body to be lost in a fantasy, and many more looks and feels from the same location, minor adjustments but the same basic pose to yield 4 or more unique looks in about one minute.

My opinion is the cropping is not right on any of the images. The one that comes closest is the 2nd image. I like the black and whit treatment but you could also apply a grunge texture. Your camera angle is a bit low and the cadt shadow on her face is very distracting and detracts from the image. The first image really just doesnt work for me but with a tighter crop may improve. The crop on the third image is showing too many competing elements. For a tighter shot like this just the hint of the decay may have more impact, or go all the way and show the full body in its surroundings. I feel your disappointment, thinking you have this great location only to review the images and find they just dont look like you hoped. These environments are challenging but other factors working against you are poor posing, uncontrolled lighting, blown highlights and lack of an easy to see main subject or point of intrest. I think that with proper cropping and processing you can improve the images but they still fall short with exposure, light control, posing and impact. Sorry its a bit harsh of a technique but you are on the right path by admitting the images need improvement. You'r next shoot will be better as you keep in mind some of the tips you are getting. I cropped the third image to show you how less is sometimes more.<div></div>

There is no secret, photography on a business level is very different than photography as a hobby. If you don't enjoy what you shoot it will become tiedious very quickly. You say your passion/dream is to photograph people, then that's where you should focus, take pictures of family, friends, neighbors or anyone else you can get in front of your lens. Don't just take a picture, make a portrait that shows who they really are. Post this on social media to get the exposure and reach beyond your circle of contacts as others see and comment on your photos. You may not receive pay or it may be very small during this time, but as your skills develop and your portfolio grows you can and will reach the conclusion that you just can't give this away anymore. This is a word of mouth business that faces downward price because of photographers just starting out or working at it as a part-time job- absolutely nothing negative, that's how most photographers begin, it's just digital makes the learning process faster, easier and less expensive so there are more emerging photographers. If you are already at that point in your development, then do something to set yourself apart and justify your pricing. Shooting a "Statement Image" is not only something to nourish your creative soul it let's others start thinking about pictures as well. To shoot on as a full-time photographer is a bit more challenging today than it used to be but is still possible, making money as a professional photographer is more about your ability to run a business effectively than your skill as a photographer. The other simplest advice is to give clients something they can't get at a mall or chain studio. Seniors really like the model experience that highlights their sense of fashion, play that up, offer full makeup and hair, unique props or set design, approach it with the attitude that it's about the experience, the photos are just the souvineers, if you can accomplish that you will have the best salesman in the world, reaching audiences you don't know.

One other thought to consider, offer services as a grip or non-shooting role so that you can see how the photographers work and learn by example those thing to practice. Second shooters should be competent to photograph the wedding as the primary photographer, they just need to learn the workflow, posing and other refinements required by the main photographer. Working in a non-shooting supportive role can opn the door to second shooting opportunities. Likely you won't receive compensation beyond on the job training, but that can be worth more than you realize...

Rangefinder magazine (WPPI) published an article featuring a high school senior session on a railroad track. This article resulted in a public outcry from the photography community due to the inherent dangers and potential criminal prosecution of both photographer and clients. I'm including a link to the response from Rangefinder's editor Jacqueline Tobin, in hopes that any photographer considering a shoot on RR tracks decide against it. And if to really hammer the point home just one day after reciept of the issue, a popular fitness actor was killed filming on tracks. Be safe and protect your clients. http://blog.wppionline.com/2015/01/why-you-should-never-ever-shoot-subjects-on-railroad-tracks/ http://www.latimes.com/local/california/la-me-reality-star-killed-20150120-story.html

The debate goes on and on about music on sites, the biggest risk is that the couple may not like the style of music you select and it will turn them off, also there are some concerns that brides may be looking while at work. With regards to both, music selection can greatly enhance and compliment your style and help make a connection with the couple. After all, very few weddings are probably using acid rock, gangster rap etc for their romantic images. I can't image anyone using 2 Live Crew's music for their wedding and if they were so inclined I would definitely not be their style of photographer... There are some "Standards" that most brides identify with and to some degrees expect, even if it's not their personal taste. Think about how often classical music is used even though the couple may never listen to it in daily life... As far as music at work, so many websites use sound, it's likely turned off or no speakers are connected to the computer.

Here is a typical ad for second shooters, I redacted the contact and identity specific information out of respect for the originator of the ad I am currently looking for a second shooter for the 2015 wedding season. Applicants must have an understanding of advanced photography skills, their own equipment, and must have had at least six months as an assistant to a wedding photographer. Pay is per event, and all copyrights and images stay with the company. If you are interested, please email me at Thought you may want to see that opportunity does exist but you have to be ready..

I have not tried Weddingwire or the knot but I hear they are not the best choice. Bridal shows are also very much dependent on the community. A post currently being discussed in another forum (different site) regarding bridal shows has a response from a man who produced the largest bridal show in central Il for 41 years. In 2011 he cecided to close the show citing vendor discontent and complaints that the industry had changed too much for them to get their money's worth. He stated most younger people planned their weddings on their iPads and computers, and while he had a fashion show most had already purchased their dress. When the customers filled out response cards they used false names and contact info and an extremely high percentage of the mail was returned. The general consensus from the strictly professional photographers in the group was that bridal shows were no longer a good investment. Currently SEO websites, blogs and social media are the most highly recommended methods to increase traffic, what you do with the increased traffic will determine your success. Here's my reply to the post on bridal shows, while it isn't exactly related to your question there are some strategies in the two responses that can give you a bit of insight to at least that avenue Response 1: You will likely get 1,000 different opinions, but there are some basic rules of sales and trade shows. Here's what my opinion is: Don't go overboard with the displays, give aways or time. Your basic job is to get people into your booth, get their name/tel/email or some other way to meet them. Often a promotional like a free basic wedding package or engagement shoot will have people filling out inquiry cards. Don't get bogged down trying to make a good impression or sell them on the spot, there will be too much for them to remember anything. Don't be rude but don't spend more time than you need to get the basics (Who, What, When, Where). Once you get home is where the selling begins. Send them an email thanking them for stopping by, include a couple of example images and a brief introduction with a call to action (register for my blog, call for an appointment, etc). The constants are that the prop sects will be overwhelmed and won't remember which photographer they liked better. They will have so many things that they take home they will likely get tired of carrying your promo card and throw it away before they leave the hall. Think of the show the same as renting or purchasing a mailing list, it gives you prospects, what you do with it determines your success. Not many business deals are closed without knowing what your unique selling position is or how you can solve a client's problems. You rarely find out such things in a big room full of competition, personal contact is a must - Do this after the show. The more names you collect, the more chances at contact you have, its that simple. Response 2, follow up regarding another member lamenting no luck with bridal show names and followup, specifically she sent several follow up emails and was told the prospect had a photographer or just recieved no replies. Barbara, without seeing your fulfillment package (emails, promotions etc) its hard to determine where your efforts are falling short. Here's a little something to think about regarding sales in general. The reason to collect names and emails is because information is king. Magazines, websites and others pay very well for qualified prospects, after all, if you don't know who's getting married you won't know who to talk to. One area that may be off putting is in your general attitude, "I don't want to spend time with follow up on people who aren't really interested." How do you know they're not interested? Maybe they have a loose connection to a photographer, maybe they're just saying they have a photographer so you won't call them until they're ready. A funny thing happens when a customer walks into a shop, approach them in the first 30 seconds and they become defensive, wait more than 45 seconds and they feel neglected, so you can see customers can be fickle... For your consideration, does your email simply push a promotion or does it address the prospect's needs? For example, an email follow up with a wedding planner pdf or a how to select a photographer brochure has more chance of making an impact than book now and get a 10% discount. Do you direct people to your blog, or to a landing page that is specific to the show you just attended? Do you have enough information to tailor the email personally to make them feel special or is it just a boilerplate document that says call for an appointment? Do you include sample images and pull quote testimonials from past clients or do you let your work speak for itself? Are you presenting a certain prestige so that your prospective clients want to use you because you're the best (CPP) or are you failing to see your unique selling position? I'm not sure if you only do weddings but most of us do a few other styles as well. If you only do weddings then you can delete the names, I guess, but once I have a name in my list, they are my best resource for Mother's Day portraits, Supermodel for a day sessions, Girls night out parties whatever, just know that once I have the email address I have the keys to the kingdom. Lastly, the more information you collect the better you can use it, for example if you know the b/g is getting married in 15 months, they just announced and haven't found the venue yet, you can suggest through your marketing an engagement session or a save-the-date mini session. Once you do the engagement images its rare not to follow up with the actual wedding.... If you'd like an honest evaluation of your marketing collateral and techniques I'm happy to offer my opinion, just let me know.

If you don't have experience its challenging to get opportunity. First, I suggest making sure your competent in low light photography., compile some images demonstrating this skill, next demonstrate your ability to capture peak action. A good place for practice is a sporting event. Compile some images that demonstrate your ability to see and revord details using techniques like selective focus. Take this portfolio to the established photographers in your town and let them know you're looking for an opportunity. Most will ignore you but you may just find the one who says sure! It's hard to break into but it can be done - good luck!

My very brief attempt here to begin a dialog has resulted in questions about my competency as a professional, that's a pretty rough begining. I need some indication that I won't be wasting my time and effort before launching suvch a discussion. Perhaps that is why it isn't already being discussed...

<p>Another indication that this group needs a reality check is that in today's market photographer's have to have excellent business acumen to succeed. The industry is full of fauxtographers and part-timers. It seems being a photographer is cool on fb so there are lots of mamarazi's who shoot and burn for free or significantly lower than market rate. Clients prefer cell phone images to professional prints and longevity of images on social media sites is about as long as the next status update. I'd love to help with issues such as marketing, customer service, new business development, in-person sales techniques and other tried and true methods to increase profitability but there appears to be no interest in this group to discuss such things.<br> How many people loose money because they are not doing in-person sales sessions? Why is a dvd a bad business choice and how can we educate our client's so they buy quality not quantity. How can an investment in presentation software such as ProSelect ($1,000) streamline your workload and improve sales. When do I need studio management software, all these and many more topics like this are what this forum is about. You can be a really mediocre photographer and still outperform your competitors if you understand how to operate your business effectively. The reality is that images are the initial hook but the quality of images you take has zero to do with your business viability. In fact, I'd postulate that working too hard to get the "perfect image" will do more harm to your business than you think. I see often wedding photographers lamenting that they have to sort through 2,500 images and I think to myself "we're they making a video"? But discussions like how many images to take, how many to present are not part of the culture here but should be. Image discussion is important but without business savy your viability is greatly limited....<br> Let's change that and help educate those who are aspiring, let's learn from those who are more seasoned, but above all let's realize this group can only grow when free open expression is met with tolerance to every level and ego's aren't attacked</p>

<p>btw, the right is still to dominate where the vertical wall of rock is, but the image has to fit into the prescribed aspect ratio. Sometimes you just gotta deal with it. To me, a tighter crop would have introduced more tension to the image but that is speculative. Here's how it would have presented tighter. The couple btw wanted to showcase the waterfall and beauty of the area.</p> <div></div>