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OFF-CAMERA FLASH SETUPS FOR BEGINNERS

Posted on June 13, 2022 by Admin under Modeling, Photo Sessions, Photography
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When I started on my journey into the world of photography, I didn’t know what to expect or where to start. All I knew is that I wanted to create amazing images and create incredible art. I remember seeing numerous creative images online and in magazines and I would think to myself, “How was the photographer able to capture that image?” and “How were they able to produce such dramatic composition that completely captivates the audience?” 

These questions along with many more heightened my curiosity, driving me into the beginning stages of photography, not knowing that off-camera flash would become something I would master one day.

As a portrait photographer, it’s extremely important to be aware of the lighting conditions that you face in natural environments. Whether you are looking to use natural light or off-camera flash when shooting outdoor portraits, understanding the effects of both will provide you with your desired result. 

Off-camera flash is like preparing an amazing full-course meal. We all like a good steak, but when you really want to go all out, you add items to compliment the steak like a salad, seared red potatoes, asparagus and butter wine sauce. When you take a picture, that’s just it, a picture; but when you really want to change the dynamic of a photo, add a little off-camera flash, maybe two lights, colour gels, fans, smoke and much more. Off-camera flash opens up a new world of possibilities in the creation process of an image. It provides the photographer’s control over lighting conditions and creates creative brainstorming and management opportunities. It allows you the freedom to capture images any place, anytime and anywhere using artificial lighting. Having the capability to control your own lighting and light output without having to rely on natural lighting is a game-changer.  The only restriction to off-camera flash is your imagination. 

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Get out and explore for National Photography Month

Posted on May 31, 2022 by Admin under Motivation, Photography
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Get out and explore! Like we photographers need to be told that, right? But, it’s National Photography Month so we have even more of a reason to create.

Where to explore

It’s not always an option to truly go explore faraway places. Fortunately, most of us have plenty of local spots we can go to. Forest preserves, local parks, zoos and more. Even if we get really stuck not being able to go very far, there is always our own back garden.

Quite honestly, many of us feel like we can’t create decent images if we are not on some epic trip. We need to change our mindset about that because it is not true. Of course, it’s always nice to have new scenery to photograph. Something we don’t see where we live is great. But, it’s just not always feasible. Never mind how many of us rarely document or create photos where we live. Why do we always have to GO somewhere else to be creative? (Guess what? We don’t.)

How to explore

Get creative locally and make a list of the forest preserves nearby. Start checking them off the list as you explore. Take a look at the greenery, flowers, plants and trees in your own garden. Explore them in detail, get out the macro lens, extension tubes or reverse rings and capture them up close.

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The pond at the local park
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Waterfall at local park

Combine your exploring with your daily walk. The images above were all taken at a park I walk to. Grab the camera and see what you can find along the way that would make an interesting subject. All sorts of options may be presented to you. Architecture, people, pets and nature. Or, give yourself a topic to focus on along the way. How many textures can you find? Photograph those and use them in your own composites. 

When to explore

Anytime and always! As much as possible. The more we are out there creating images, looking for and seeing what is around us, the better we become as photographers. 

No excuses. Rainy? Too bad, go out there and get raindrop images. Too hot? Explore in your own house. Grab some kitchen utensils and food and see what type of images you can create. These images were created in my back garden and kitchen.

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Back garden flower with water drop.
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After the rain on my patio table.
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My kitchen counter
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My kitchen counter

Need a reminder to get out there? Leave your camera out and within reach. Out of sight out of mind isn’t a good reason to not go either. Make it easy. 

Take a road trip

If you can, take a road trip. It doesn’t even have to be far. I live within an hour or two of both amazing cities and the countryside. So many opportunities to explore. From architecture to beautiful landscapes, the possibilities are truly endless if we just take the time to do a little research. Birmingham is a 2-hour drive for me. It has amazing architecture plus a whole lot more.

explore reflections
explore Milwaukee Symphony Orchestra

Find what you love. My guess is that you have not explored every location you can. Make a plan to do so. Then, when you do have the time, or the weather is perfect you are ready to just pick up your camera and jump in the car. Don’t limit your thinking to the usual favourite spots. Big cities to small towns. Large museums to quaint little rural historical sites … they are all worth exploring.

Limits

Speaking of limiting your thinking. There are no limits to exploration. Your thought process, your creativity and your imagination are what will keep you moving forward with your photography. Don’t allow yourself to listen to those negative thoughts or phrases that stop you from getting out with your camera to explore. You know the ones:

  • I’ll go later
  • There is no time
  • It’s too this that or the other
  • I just don’t feel like it

We’d love to see where you end up exploring. Whether it’s near or far, share your National Photography Month images with us.

Go. Explore. Create. You’ll feel better once you do.

GoPro export settings that work great for YouTube

Posted on by Admin under Photography, Sport, Video
GoPro Export Settings

Ever upload a video from your GoPro to YouTube only to find that it looks terrible afterwards? You’re not alone. Fortunately, using the right GoPro export settings for your video can do wonders! Read on to find out how. 

Anyone who has ever had the above scenario happen to them knows how frustrating it is. Your GoPro footage looks great in editing. Then once it’s live on YouTube, you look on in horror at the pixilated mess it has become. 

YouTube can degrade video quality with its compression. That’s even more true for fast pace action camera footage. The prime reason for this comes down to bitrate. That’s why your GoPro export settings matter. 

How GoPro export settings make a difference

GoPro Export Settings

Many of us who use GoPro cameras for video are shooting fast action, high pace content. To smoothly render that, the camera records at a high bitrate. What that means for us is that when that bitrate number goes down, so too does the quality of our video. 

YouTube has set numbers allowed for bitrate. These numbers are determined by the resolution of the video. The higher the resolution, the higher the bitrate YouTube allows for. For reference, YouTube allows a measly 8 megabytes per second (Mbps) for 1080p videos. The GoPro HERO10 maximum bitrate is 100 Mbps.

When uploading a GoPro video to YouTube at 1080p resolution, YouTube is crushing that 100 Mbps down to 8. This is where changing our GoPro export settings can save the day. Regardless of what settings were selected on the GoPro at the time of filming, we can change our GoPro export settings in post-production to take advantage of YouTube’s bitrate allowances. 

Which GoPro export settings are best?

Now that you know why GoPro export settings are important, what can you do to make the most of them? We now know that uploading in 1080p is a bad idea. However, YouTube allows more bitrate for 4K video. YouTube allows for 38–68 Mbps for 4K video. That is much better for the sake of our footage. Adjusting our GoPro export settings will take advantage of that.

If you edit your videos in a program such as DaVinci Resolve, Adobe Premiere or Final Cut, you’ll be able to set the parameters of your video. YouTube has specific things it likes to see. To start with, set the timeline resolution to 4K, or 3840 × 2160. This will allow for exporting a 4K video, even if the GoPro was recording 1080p or 2.7K. 

Once you have finished your editing, it will be time to set your GoPro export settings. YouTube prefers MP4 for the container. After that, make sure your audio codec is set to AAC or AAC-LC, and the video codec is H.264. 

Lastly, and most important, is resolution and bitrate. For these, make certain that the resolution is set to 4k or 3840 × 2160 again. Then for bitrate, set it no higher than 60 Mbps. If it is higher, YouTube will compress it more and degrade the quality. You also should avoid setting it lower than 40 Mbps. Having the exported video bitrate between those two numbers should see your footage looking great!

Now, enjoy your great GoPro videos on YouTube!

GoPro Export Settings

Now that you have exported your GoPro video, all that’s left is to upload it to YouTube! Using these GoPro export settings will see to it that you no longer end up with grainy, ugly YouTube videos. Now get out there, capture all your fun, and share it with the world! 

THE ART OF CONCEPTUAL PORTRAITS

Posted on April 27, 2022 by Admin under Modeling, Photo Sessions, Photography

Conceptual Portraits have been important to humans for as long as anyone can remember, starting with cave drawings, etchings and sculptures, then moving on to paintings and eventually numerous types of early-stage photography. Photographs these days can be important for all sorts of reasons, but long ago the largest reason to have a portrait was to remember or immortalize a person of significance. A person of significance back then would have been the leaders, healers, and heroes of a community. Effigies were created for these people so their likeness could be captured and saved for all time.

As the years moved on and portraiture evolved, “people of significance” became your families, your local business owners, etc. People started having paintings done of themselves and their families. They started having multiple portraits done showing their various homes or hobbies or loves.

These days, a portrait doesn’t have to be so serious, nor does it have to be important to a person to be captured. It’s perfectly commonplace these days to take 30 photos of your new haircut only to post one, or to take a bunch of photos of your cat licking your face, solely because “Biscuits looked so cute!” Portraits today are so easy to take that they don’t need to have a reason to be taken, other than simply wanting to take them. This allows us as individuals to get super creative. Without needing a reason to create and without needing a foundation for something to be allowed to exist, we started turning portraits into something that was fun. We started doing our makeup, getting dressed up, putting on wigs and capturing ourselves as these alter egos. We started becoming these characters that we were making up in our own heads and portrayed those characters by dressing up and taking photos.

So, what are conceptual portraits? What is the difference between them and traditional portraits and typical conceptual photos? Normal portraits portray a person as themselves, whereas conceptual portraits portray a character that the person is playing or an inner part of themselves that they are bringing out. Classic portraits are very “what you see is what you get,” very surface level in terms of theme. A traditional portrait says, “This is me; this is who I am and what I look like.“ A conceptual portrait, however, says something different. It might say, “This is how I feel” or “This is who I want to be.”

Typical conceptual photographs portray a concept or theme but aren’t entirely focused on the relation to that concept from the subject. I like to think of conceptual portraiture as something that tells a part of a story, focusing only on the subject, and that the story is secondary to that subject. So the theme or idea is there, but you’re really just seeing a character in that story rather than the whole story itself. As an example of this, picture a photo of Rapunzel in a tall tower, with her suitor climbing her hair. That would be a conceptual photo, for sure. Now take that idea and only show Rapunzel sitting on her floor, posed gracefully in a bed of hair and flowers. That isn’t telling a story, but it is showing the character in a story and would be considered a conceptual portrait more so than just a conceptual photograph. It isn’t a conceptual photo showing the tale of Rapunzel being saved, it is rather just a portrait of her, this imaginary character, as she is.

The Importance Of A Good Corporate Headshot

Posted on March 30, 2022 by Admin under Business, Motivation, Networking, Photo Sessions

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In 2012, the Cognition And Emotion Journal published an interesting study on facial features. The research showed that you make your decision to trust someone within 100 milliseconds of seeing their face.

Mid Adult Female Entrepreneur With Arms Crossed.

Talk about the importance of making a solid first impression, right? A less than ideal first glance spells out certain doom for your business. So what if you could get that first impression out of the way before your client walks through the door? 

And in the corporate world, there’s no better way to gain a potential client’s trust and boost your reputation than by taking professional headshots. 

In this article, I’ll explore the reasons why corporate headshot photography should be your next business move. Let’s jump right in!

Corporate headshots can build trust among clients.

Every successful business professional knows that the customers ought to come first. Always. Building a healthy, growing client base is difficult but far from impossible. 

Smiling pictures are an easy way to make clients comfortable with your business in seconds. When someone browses your website and sees a cheerful employee, it can create a positive connection in their mind. This same empathy is directly related to the first impression idea that I touched on earlier. 

In her article about first impressions, Stephanie Burns emphasizes that you don’t get a lot of time to prove yourself. With the new age of social media, people are finding products online now more than ever. This means that your first impression is no longer when the client steps through the door. If they’ve been on your social media or website, it happens well before you meet face to face. 

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Clean headshots show your clients who they’re supporting when they choose you over the competition. It puts a smiling face to the company name. 

I understand firsthand the kind of impression that a quality headshot makes. At my company, we even pay for professional headshots when we represent someone, showing additional attention to detail.

Corporate headshots can reinforce values. 

If a client is attaching your face to the company’s name, the picture they look at should show your core values. For example, employee selfies on your About Us page come across as unprofessional. Another rookie mistake is cropping a family photo only to feature the employee. They might look beautiful, but the business can look cheap. 

You could have the most clean-cut, polished website, but it won’t matter. Clients now associate your business with a selfie of Amanda and Bobby together at Taco Bell. While these kinds of “casual” photos are relatable, you don’t want to confuse the client. 

Yes, it’s important to highlight the human side of your company. But you can do that and maintain an aura of professionalism. Casual corporate headshots are acceptable and may even be the better option, depending on your line of work. 

Clients want passion and expertise to radiate off the screen as they explore your website. None of those things jumps out when they see a picture of you and half of Aunt Carol’s arm at Thanksgiving in 2007. 

In her article, Jessica Wong, the founder of a marketing agency, touched on how important photographs are and went so far as to include them in the top three ways to create a successful website. Take it from me and others: Go the extra mile, and take your headshots in a real business photography studio. 

Corporate headshots should reflect well on you. 

As a businessperson, you might say that your simplest job description is to sell a product or service. After all, isn’t that what pays the bills? My years of experience in the marketing industry have taught me otherwise. At the end of the day, what you’re actually doing is selling yourself to the client.

Let’s say you’ve found the perfect new apartment that meets your needs and you can’t wait to sign the lease. However, when you go in to sign, the leasing agent is late and filthy drunk. Would you even have time to reconsider signing the lease before scrambling for your car keys to get out of there? Probably not. In that scenario, the boss was a very poor representation of an otherwise ideal company. 

In the same way, having poor headshots (or none at all) can seem quite lazy. Spending a little extra money to get things done right can benefit every single aspect of your company. When you truly care, clients notice. 

Pro tip: Hang on to photos.

An added benefit of getting custom corporate headshots is that you can use them more than once. Update your professional social networks, such as LinkedIn, with photos of your staff. Stay up to date this way, and let your employees use these headshots as their profile photos. 

Headshots are also handy when designing business cards or securing billboards. From social media accounts to paper flyers, the possibilities are endless. 

Boost your first impression. 

Corporate headshots can ace first impressions and earn your client’s trust. When done right, they’ll boost your commitment to quality and other important values. As a leader, these photographs should demonstrate the quality that you deliver daily.

10 TIPS TO HELP YOU GET SHARP PHOTOS WHEN SHOOTING HANDHELD

Posted on July 29, 2021 by Admin under Photo Sessions, Photography, Uncategorized

Getting sharp photos when shooting handheld is probably the biggest struggle for new photographers – especially if they haven’t figured out how exposure and shutter speed works yet. Even if you know what you’re doing with exposure, though, it can still be a little tricky sometimes. And with as tiny as camera LCDs are, it can be difficult to spot until you get back home and look at them full-screen on your computer.

So, how can you help to guarantee you get sharper photos? Not all of them may apply to you – particularly the first one if you don’t drink coffee – but between them, with a little practise, you should be able to start seeing sharper images in no time.

I’m offering up 10 tips that can all potentially help you. They may not all be needed, but they’re all good tips to follow if you’re trying really hard and still finding yourself shooting blurry photos.

  1. Avoid coffee before you shoot
  2. Eat food, don’t shoot hungry
  3. Use the self timer
  4. Use your electronic shutter
  5. Use stabilised lenses or cameras
  6. Choose a solid, stable stance
  7. Brace the weight of the camera against your body
  8. Shoot when breathing out
  9. Set a minimum shutter speed in your camera to make sure it doesn’t go lower in auto-exposure modes
  10. Wear appropriate footwear!

That last one is kind of a joke, but it’s one I see a lot shooting out in the wilderness. Think about where you’re going to be shooting and get footwear that’s appropriate for the location. Shoes that can easily slip and slide or sink into the ground (yes, I’ve had models show up to shoots in the wilderness in heels) aren’t going to help you plant your feet firmly on the ground to get a solid stance to hold your camera steady!

As well I’d also suggest shooting in short bursts if you can. 3 or 4 images. Even for landscapes sometimes, if you’re really worried. Shooting in a burst of 3 or 4 images will usually help to guarantee at least one, possibly two sharp images, even if your first one isn’t quite as stable as you’d like!

Also, don’t forget to hold your camera properly.

10 STEPS FOR ORGANIZING AND CONDUCTING A CONCEPTUAL PHOTOSHOOT

Posted on December 6, 2019 by Admin under Business, Modeling, Motivation, Photo Sessions, Photography

1. GET INSPIRED AND COME UP WITH AN IDEA

Inspiration doesn’t just arrive on its own. It must be triggered, and there are a lot of different things that can help with that. Working on visual taste and a general understanding of art is also important. Try to spend some time looking through the art of any medium, and analyze on a daily basis why it is good and what people like about it. The internal storage and accumulation of experiences, impressions, reflections, and observations can help you get inspired, even when you feel unmotivated and are trying to force yourself. It is OK to get inspired by someone else’s art. Just make sure you don’t copy it, but rather use it to kickstart and create your own interpretation. Start building your concept and story around one image component. It can be an object or prop, model, location, costume, theme, emotion, light, composition, etc. Make it a starting point, and go from there.

2. VISUALIZE: SKETCHES AND MOOD BOARDS

Start visualizing your idea to get a better understanding of how it should look and what you specifically need to do to bring it to life. A sketch is an excellent way to start. You don’t need to be a painter to put your concept on paper or the digital screen. It can just be doodles with simple forms, notes, and explanations. Mood boards are another great way to find image references, to convey mood and work on your color scheme. This is also very helpful when you work with other people and you need to make sure they understand your vision and that you’re on the same page. Share your thoughts and ideas with your team.

3. RESEARCH: LOCATION, MODEL, PROPS, ETC.

It is always a good idea to do research before the photoshoot. Find the right model, and make sure they are available and interested in your project. Scout for a location and find out if you need to get a permit or any other arrangements—or if it’s a studio, make sure to book the time. Go there before the shoot at the exact time you plan on shooting, check out the set, and figure out what needs to be added. Scope out the natural lighting or studio equipment as well. Think about everything you might need during the photo shoot, make a list, and then make sure you have it or get it. Buy, rent, or make props, costumes, and outfits, or find other creatives to collaborate with.

4. THINK ABOUT YOUR LIGHTING OPTIONS

Always think about your lighting options. If you’re shooting at the studio, make sure they have all the equipment you need available for rent, or bring your own. If you’re shooting on location, check out the natural light before the shoot—its quality, position, and intensity. It’s a good idea to always bring a collapsible reflector with you. Think about if you need any additional lighting equipment. Also, when shooting on location, decide on what time of the day to shoot, and prepare your lighting gear accordingly. Try to avoid bright, sunny weather, when the sun is highest in the sky creating harsh shadows. Shooting around sunsets or sunrises, or on a cloudy day with very soft, diffused light will make your images look better.

5. REACH OUT TO PEOPLE TO COLLABORATE

Collaborations are always fun, and they can be very beneficial. Find like-minded people, and don’t hesitate to reach out to them with collaboration proposals. You might need a makeup artist, a hair or wardrobe stylist, or any other creative to work on your project. They can help you with things that you can’t produce yourself, and bring new ideas to the table. It’s always rewarding to work with a team. Also, if you don’t have enough budget, you can find people willing to work with you on other terms. Don’t give up if some of them aren’t interested if they reject your proposal or simply don’t reply to you. Keep trying, and you will find the right people to team up with. There’s always someone happy to create and gain new experience.

6. PREPARE YOUR SHOOTING SET

Get everything ready. Book the studio, get a permit for any public spaces, get your team together, set the time and date, and gather all the equipment and props. Go to the shooting location ahead of time, and start working and arranging your set. It’s your project, and the successful outcome depends on proper preparation and your level of responsibility and dedication. Take good care of your models. Even if you shoot in extreme conditions like cold, rain, water, etc., or in an unusual location, make sure that they’re safe, warm and fed.

7. PLAN YOUR COMPOSITING AHEAD OF TIME

It is crucial to think ahead about what kind of editing you are going to do later on the computer and if there’s going to be any compositing involved. Plan your compositing in advance—think about what additional elements you need, shoot source images right on set, and bring any props necessary. Want to incorporate flying objects in your photograph? Make sure you have them on set and take those extra shots. Take additional images of things like sky and snow, and create your own stock photography! Composites are always easier to make look more realistic when the majority of the work is done on set. It is much easier to bring things together in your final artwork when they match in terms of color, light, and perspective.

8. BE PREPARED FOR THE UNEXPECTED

No matter how properly you prepare for your photoshoot, you can’t control everything, and things can always go wrong. That’s OK. You just need to be prepared for unexpected circumstances, have extra things on hand just in case, and stay calm. Bring spare batteries and memory cards, take another lens or extra prop item even if you don’t plan to use it, and maybe even bring accessories, like some clothes or makeup tools. Think about what’s essential and what you can’t conduct your photoshoot without, and bring it just in case someone from your team forgets. Better safe than sorry! Even if everything goes completely wrong, don’t panic—just think about rescheduling your photoshoot for a better time if possible.

9. DON’T BE AFRAID TO IMPROVISE

Sometimes, what you have planned doesn’t work out. The circumstances might change, or one of your ideas simply doesn’t work the way you imagined it. Don’t be afraid to improvise, think outside of the box, and take a different course. That’s why it is also good to have extra things on your hands. Try using a different prop, or experiment more with light and poses. If you have time, get even more inspired and shoot something you didn’t plan to.

10. ENHANCE YOUR PHOTOGRAPHS WITH POST-PROCESSING

Now, when the photo shoot is over, you’re ready to spend some time on your computer and process your photographs. Photography is an art form. Whether you’re just tweaking the color temperature and contrast, or going full editing, heavy with retouching and compositing, I believe that post-production is essential to finalizing your work and bringing it to the next level. Your editing software is another powerful tool for creating artwork. It gives you the potential to convey your idea and match everything that was captured to your vision. Even good photographs could be better. Post-processing gives a great opportunity to adjust them and fix small issues you overlooked on location, to make sure your work looks good and in line with how you planned it. Your vision may not be true to life, but using Photoshop, you can create something that is impossible to capture, something that bends the reality to suit your imagination, to dramatic effect. After all, you are the artist, and you determine what tools to use and how to bring your artistic vision to life.

The Importance Of Personal Projects For Photographers

Posted on November 27, 2019 by Admin under Modeling, Motivation, Photography

Recently, I sold some very old photographic gear and was debating what to reinvest the money in. When you’re a pro photographer, there are always a million and one pieces of photographic equipment that you could happily add to your arsenal.

But, for once, I didn’t immediately rush out and buy something for my pro kit. And, at this point, you might well be wondering why this was…

One of the main reasons I became a photographer was because of my love for taking pictures. I got given my first camera aged 10 and was hooked from day one. I took pictures of everything and anything to start with and then refined my work to focus on photographing the things I really loved.

But, of course, when I became a pro photographer, there were certain aspects of the job I enjoyed less than others.

When you shoot for a living you don’t always have carte blanche over what you’re shooting or how you shoot it. But, actually, this isn’t always a bad thing, as it encourages thinking outside the box, although it can take some of the creativity out of work!

The Advent of Digital Cameras

But when I was shooting on film (yes, I’m that old), I found it relatively easy to keep taking photos for my own personal enjoyment. I had a large collection of medium format cameras and enjoyed taking them out and experimenting with them. The real C change came with the advent of digital cameras and the expectation from clients that I’d be spending a lot of time in post-production making them look 10 years younger and 20lbs slimmer.

Digital photography really does require that you spend another day retouching after the shoot – especially if you’re mainly a portrait photographer like myself. So, not only does it cut down on the amount of time you have to take photos, but also it takes (at least for me) some of the enjoyment out of the work we’re doing.

After all, I didn’t really become a photographer to spend my days in front of a computer.

Shooting for Clients vs Shooting for Myself

The realization that I was spending all my time shooting for clients and no time just shooting for myself was a slightly uncomfortable one.

After many years in the business, I was also only shooting the kind of professional work that I wanted to shoot and, whilst this was a good thing, it did leave me stuck a little in a rut. So, when I decided to invest some money in photographic equipment, I stepped away from my heavy and somewhat cumbersome pro equipment and went out and purchased an Olympus OM-D E-1mk2 with a couple of lenses.

This is a fantastic little camera with an old fashioned design and totally manual features (as well as auto for those less technically inclined!). Plus it also allows users to recreate the look of the old slide and negative films – a real plus-point for an old fashioned geek such as myself! Suddenly, I’m enjoying taking photos again – the camera is small enough to fit in a coat pocket and it’s easy to use.

Why Shoot Personal Projects

And that’s the primary reason for pros to shoot personal projects – it brings back the enjoyment and the love that we first had for photography when we picked up a camera all those years ago. But there are other really valid reasons for shooting personal projects.

As I briefly mentioned above, shooting the same sort of things all the time in pro work can lead to getting into a bit of a rut. Shooting personal projects allows photographers to start experimenting with other genres of photography that we don’t normally work in. It also allows us to try out new techniques and lighting, without the risk of keeping a client waiting whilst we get things how we want them.

By shooting personal projects, we can come out of our comfort zone and start working in areas that we might not normally feel as comfortable in. Part of the joy of photography is experimentation – to see what works and what doesn’t. As a studio photographer, I work primarily with studio lighting and one of the nice things about undertaking personal projects is that I can either experiment with new lighting techniques, or just go out and leave them behind!

There are tons of ideas for projects out there on the internet, but I think the first step is just having a camera in your pocket and starting to shoot. Hopefully, by starting to shoot for personal reasons, you’ll get a lot more enjoyment out of your camera!

LINKEDIN HEADSHOTS FOR THE BEST LINKEDIN PHOTO

Posted on November 6, 2019 by Admin under Uncategorized

Perfect LinkedIn Headshots from DWM Photography to give you the edge.

It’s your professional image, so get a Great LinkedIn photo at our Gringley  Studio.

Choose your background and style of shoot. We’ll make sure your pose is perfect, so we capture the real ‘you’. Or get the team updated: we can visit your offices for a more personalised shoot.

You get a selection of images to choose from, we’ll then retouch to make sure you look your best and provide you with 4 LinkedIn photos: Full Colour plus Black & White images optimised to work perfectly with LinkedIn and other Social Media sites.

Good LinkedIn headshots support your career and help you stand out against your peers. You’ve worked hard for qualifications and professional reputation: your LinkedIn and professional profiles can work equally hard! Book your session today

Did you know?

  • Prospective employers and clients make judgements within milliseconds of seeing your LinkedIn headshot.
  • Regularly updating your LinkedIn headshot improves your web-presence (try it…. see how many friends and colleagues ‘like’ your new headshot).
  • Your headshot should be formatted specifically for LinkedIn or you’ll risk being blurry.
  • According to research by Acas, 45% of recruiters use social media tools to vet job applicants.
  • Recent pictures make you look current. An older picture risks signalling you’re just returning to the job market.

Whether we like it or not, clients and potential employers make initial judgments based upon appearance. So it’s important you never leave this vital element of your career to chance.

THE ART OF THE CLOSE-UP

Posted on March 7, 2019 by Admin under Business, Modeling, Photo Sessions, Photography
The Art of the Close-up

One thing that separates me from the other photographers in my area is the client experience I offer. We go places, plan setups, and use creative and exotic outfits and secret locations. We shoot with cars, horses, pets, guitars, guns, buildings, bridges and friends. But when we sit down with Mom and Dad to order, you know what they buy? Close-ups. The ones that show all of that beauty, the expressions, the smile they invested so much in, the sparkle, uniqueness and joy. This month, I show you how I incorporate close-ups with every outfit and location I shoot.

Lighting Is Everything

I don’t understand when I see some BTS shots and the OCF is 15 to 20 feet away from the subject. You wouldn’t put it that far away in the studio, so why would you outside? I use a Elinchron ELB400 and an RotoLight Nano11 for my OCF photographs. It is usually set at 1/32 to 1/256th power. A beauty dish is most effective when it is close. The light is rarely more than 5 feet from their face. It is so close that I am always removing the feet of the stand from the image in post. I keep the modifier close and the power soft so the lighting doesn’t look like flash. It just looks perfect. The outdoor photos in this article are taken that way.

Look Down. Eyes at Me. Smile.

These three directions are how I begin every shoot with a first-time client. The young lady has seen my Instagram with all the great photos of the gorgeous girls I work with, and she walks into my studio gallery to find 100 more on my walls. She is nervous, self-conscious and maybe intimidated. She might be thinking, “Sure, you can take great photos of all of those beautiful people—but not me.”

We need to prove to them that we are the expert. It is our job to help them through it and to enable them see themselves the way everyone who loves them does: flawless, unique and beautiful. The sooner they have confidence in me, the better the session will go. So I choose a spot or setup that I know will get the first three shots perfect. I say, “Drop your chin and look down.” Click. “Lift your eyes to me.” Click. “Smile.” Click. Then I show them the photos. They see their face with their perfect makeup, looking down with their eyes almost closed. They are already envisioning that shot as their new profile pic. Then they see the next one with their eyes so big, and realize they don’t have an RBF after all.

When they see the smile shot, they know that Mom is going to love it. Sometimes I show Mom the three images before I show them to my senior to increase the anticipation. You have them at that point. Find a way to prove to your client they are in good hands. If the first three shots look that good, the rest will be a breeze.

Looking Away

Every teen follows fashion bloggers. The blogger posts lots of shots of her not making eye contact or looking as if she is talking with someone just out of the picture. Let’s take it one step further. We have perfect light and editing, so we get that feel, but better. I show them what I’m looking for. The first thing they do when you ask them to look away is to turn their eyes—which makes for a bad look, without whites on both sides of their iris.

I tell them, “Point your nose in the direction I want you to look and keep your eyes centered on your face.” Then I show them the difference by turning my eyes way to one side. They laugh and they now get the concept. I have them follow my hand until they have it down.

Then I can say, “Look at my hand” or, “Look at that sign across the street” to get them to turn their face. I give constant reinforcement so they know when they are doing it right. As you guide them in the pose, you are reinforcing the belief that you are the best at what you do. I show them the back of the camera frequently in the beginning to show that I am doing it right. Show them a shot where they did it wrong and then the shot where you corrected them, and they won’t make that mistake again. Ever.

The next step is to get them to laugh or smile when looking away. They will think it’s awkward at first and start to laugh for real. That’s when I say, “Eyes at me” and get that genuine smile shot.

Focal Lengths Matter 

For years, my go-to lens has been the 70–200mm for its versatility, bokeh and ease of use. When I’m shooting a nervous senior, the zoom allows me to get close without them knowing. I get perfect proportions and zero distortion at that length. Shooting at 70mm allows me to get close enough to frame it the way I need to in tight spots. There is a slight distortion straight out of the camera, but it’s negligible. Recently I started using my 24–70mm for close-ups. Shooting at 35mm can be flattering for heavy people and downright awesome for lighter people. It produces an editorial feel for a change of pace, which clients love. But since I switched to Olympus and Olympus glass, I love my 60mm f/1.8 lens. It has perfect proportions with zero distortion.

The Crop

Ninety percent of the time, I frame the shot exactly the way I want it. That’s how my eye works. But with today’s 24–42K sensors and the great eye focus technology, you aren’t limited to the shot you take. Sometimes the perfect close-up shows itself during editing.

Point of View

Changing the point of view changes things up a little in their photo album, but it’s also a mental trigger. Graduation is a sentimental time for Mom and Dad. A shot looking up at their child can remind them of the day she took her first steps, realized she could read, was saying she was sorry; that time your teenager looked up from her phone and said, “I love you” when you brought home Taco Bell for dinner. Get some shots looking down at them. I like short lenses for this. Keep the light coming from a flattering direction above her. The catchlights should still be above her pupils.

Remember the Hand Rules

Hands should celebrate the face. They should draw attention to the eyes and facial expression. The back of the hand is almost as big as the face, so keep the edges of their hands facing the camera. I like pinky side out. Keep their fingers long and elegant, not too stiff and never curled in a claw. I push their hands into their hair a little to hide them. I don’t want their fingers touching the back of their neck as if they have a migraine. Their forearm shouldn’t be pointing at the camera, especially if you are shooting 50mm or shorter. For ladies, no fist under the chin. Think class, daintiness, sophistication. Hands are usually a couple shades lighter than the face. So when you’re setting the light source, be sure their hand is not perpendicular to it.

Hats Are Great Props

They are fun and different and add personal flare. Whether it is a wide-brim hat, a slouch beanie or a worn-out ball cap, it will change the feel of the photograph. The most critical thing to remember when using a hat is the light source or placement. You don’t want a shadow to go through their eyes or hide them altogether. The light needs to be set under the brim of the hat without shining up on their face. Just above eye level works best. Have them wear the hat a little higher on their forehead. The hat can also be used to conceal. Hiding one eye or both eyes with the brim of the hat makes for a killer fashion look.

Hoods Are the Best

I like fuzzy hoods, hoodie hoods, lace hoods and raincoat hoods. Pull their hair through the hood so you can see that too. Turn their head inside the hood so only part of their face can be seen.

The Best £22 I Ever Spent

I found this fuzzy infinity scarf at Primark four years ago. I have photographed over 100 girls in it. This scarf is on a dozen walls and in 25 or more albums. It has been used in hundreds of Instagram, VSCO, Facebook and Twitter posts. I like to use it more like a hood than a scarf. The best shots I have taken have their face buried inside the scarf a little. Be aware of the shadows when using OCF. Sometimes I hide their mouth or one of their eyes for a dramatic look. Keep their hands and fingers hidden as much as possible so you don’t draw attention away from their eyes.

Lying Down

If they are on their tummy, it is easy. Their hands and arms can form triangles or leading lines, or they can conceal parts of their face to draw more attention to the features that are exposed. Remember some hand posing rules: no right angles in the wrist; we want soft curves and flowing leading lines. Control their hair and place it intentionally. There is nothing worse than missing a few strands because we were so excited to get the shot that we missed some details.

When they are lying on their back, it is a little harder. This position illuminates the line between senior and sexy. That line is blurry. I rarely pose them on their back. The most critical aspect is the lighting. Design the light so it’s similar to the 5 p.m. sun when they are standing. We want to avoid up shadows on their face.

Let Them Be Goofy

It’s fun to loosen them up, even if none of the photos of the loosening-up exercise are used. Put great light on them before you start just in case they choose one. Have fun with all of these options. Practice them with your model team. Pay attention to the details and watch your sales climb.