Tuesday, March 13, 2012

Camera Phone or DSLR?: How much time do you have?

Veteran Professional photographers Greg Schneider and Tom Mills come every year to the conference to soak up more material.  Of course as you can see from my photo we are friends and enjoy catching up each year. Greg has been a past speaker at the conference.

I was just reviewing my photos from the Southwestern Photojournalism Conference.  I take these photos every year more for just me.  I am not trying to tell a story from my photos, I am just enjoying having some memory joggers. I might share these on social media where my friends tag each other to help us all remember.  They are taken for a more private consumption.

I contrast this to many people who come up to me and want to learn how to use their DSLR.  They are realizing their spouse is getting better photos with their camera phones than they are getting with what should be a better camera—their DSLR.

Kevin Vandivier and Ted Wilcox were both past speakers at the conference and seasoned pros.  They too come for learning and rekindling of relationships with friends.
Surely the professional photographers just know the secret settings to put my camera on that will help me consistently get great photos.  Is this what all these people are thinking when they come to me and want to know how to get better photos with their DSLR?

I then contrast this to all those professional photographers who spend money to go to a conference where for the most part not one single speaker got up to the microphone and told us how to set our cameras to get better photos.

Anacleto Rapping and Michael Kitada enjoy catching up with each other at the conference.  Anacleto has been past speaker a few times.  Today he teaches at Brookes Institute.
No one told us how to use flash to balance the background with the subject or to manipulate it.

Last year we did have Scott Kelby walk us through his workflow process for using Lightroom 3.  One year we had Joe McNally show us how to use multiple hotshoe flashes to light a subject and control them all from your Nikon camera.

Both of those technical presentations were for new things introduced and people wanted to know how to use the new technology.  But, for the most part the camera hasn’t changed all that much from over 200 years ago.  You still have an aperture, shutter speed and ISO to set to be sure the photo is well exposed. 

Bill Fortney, the Nikon Representative, takes time to help John Walton understand the differences between different model DSLR cameras that Nikon just introduced.  Typically you are hearing a dialogue where Bill is asking what type of photography are they doing and what do they want to do they cannot do right now.  Walton has traveled all over the world shooting for the AWANA Clubs International for the past 30 years.  Even with all his knowledge he is still on his knees before Bill learning something new.
Lifelong Learning is Key for DSLR

If you just want to know what settings to use on your camera to make photos and that is it, don’t waste your money on a DSLR.  Use your camera on your phone.  You will more than likely have this with you and that is why you will get better photos for the most part—having a camera with you when the moment arises.

If you are finding that you need a flash and your camera phone isn’t cutting it, then buy a camera with built in flash for those moments you just need to be sure the subject that is right in front of you has light on them. 

When this camera isn’t working for all the situations be very careful about your next purchase.  Buying the DSLR will not solve all the situations that the point and shoot wasn’t capturing.  Most likely it would capture the moments.  The problem is the lack of knowledge of how lighting works or the camera works to capture moments rather than the camera lacking.

During the panel discussion Lisa Krantz pulls out her iPhone and is taking a photo of the crowd and most likely posting to her social media outlets.  Notice how both Alex Garcia and Brad Moore are so use to this behavior by other photographers they are just taking this in stride.
What the Pros are buying

If you go to a conference with a bunch of pros today, you will see them walking around with point and shoot size cameras. They wear them like jewelry and proud to own them.  Sure you may see a few of us with our big DSLR cameras, but almost all will own a point and shoot.

Francis Bacon is using his point and shoot to photograph Jim Veneman with a student.

All the pros realize the simplicity of the point and shoot camera helps them rediscover why they fell in love with photography.  They enjoy having a camera with them that captures what they are experiencing at the moment.  Carrying all their pro gear all the time would help them make better photos, but they don’t enjoy carrying everything all the time.

Brad Moore has his photo taken by one of the conference attendees with their camera phone.

Why do all the pro photographers continue to go to conferences where they are not all learning about the camera settings?  They know they need to train themselves on why they make pictures rather than on just how to make pictures.

When you know why you are making photographs you will have the proper motivation that will help you tackle all the technical stuff and learn to master it.  You need to be reaching for lenses and flashes and changing settings on your DSLR the same way a person drives their stick shift car—it is all muscle memory.  You are not stopping and thinking about it you are just doing.

Tom Yu has Gary Fong review his work.  Gary Fong is the founder of Genesis Photo Agency and Christians in Photojournalism.  Every year Gary comes and invites all his friends to meet him at the conference.  Tom has come from mainland China to attend the conference for the first time.  Tom is now looking for an internship while he is in the state.  Anyone need an intern, let me know and I will pass this along to Tom.

If you bought the DSLR and not willing to commit the time to learn how to use it—which will be a lot of time—sell it and get a point and shoot or just use your camera phone.  DSLR is not for the casual shooter, it is for the serious amateur and pro.

Jim Veneman is never without his Nikon P7000.  He too is using a point and shoot over carrying his DSLR all the time. 


Sunday, March 11, 2012

Parts To An Estimate

There are three major sections to an estimate for a job you are bidding on for a client.

1.    Your costs
2.    The price the client pays
3.    Your selling of yourself and why you are the best person for the job

Your Costs

There are two sections to every job when it comes to expenses.

1.    Ongoing expenses spread across all jobs, which we refer to as the “Cost of Doing Business.”  This gets broken down even more into
a.    Living Expenses
b.    Business Expenses
2.    Job costs associated to the project.  If you have prints, travel expenses, and other things that you would not have as expenses unless you were doing this job.
Your costs are not what you quote to the client.  This is what you use to help you know what you must clear for a profit.  Take this information and then figure out what you need to charge.

The Price the Client Pays
http://www.whattheduck.net
1.    The Price
If you are selling to the public prints they put on their walls from portrait sessions you may have a variety of packages that include the shooting fees and maybe a starting number of prints.
You may shoot weddings and then have similar print costs like the portrait photographer, but also have more prints and binders to create books for the couple.

When you shoot for corporate or advertising you have shooting fees plus usage fees.  These usage fees are based on where and for how long they plan to use a photograph. 
         2.    The Package

Typically you are going to offer more than one solution and hope that you can up sell the client. Most often you will have 3 to 4 prices.
A)    Rock Bottom Price
B)    Low End Price
C)    Medium Price
D)    High End Price

Your Sales Pitch

This is the area I see the weakest for most photographers.  They quote a price as a take it or leave it price.  Those who understand how to sell often do not mention prices until they have sold the client on their services.

The key is to first find out what they need and learn how to meet the need and even exceed it.  Once you have done this selling is quite easy.

If you are just pitching packages and not understanding how they plan to use the images you are unable to show how you are helping them.

Lets break this down into bite size steps:

1.    Establish the need.  You can ask directly and sometimes they know, but more than often you are going to need to explore with the client and understand them and or their business to be able to establish what they are trying to accomplish.

2.    Word all of your pitches to address the need and show them how by picking a certain product you are offering they will accomplish even more.

3.    Give them options. Too often photographers do not put themselves in a very good negotiating position.  Try your best to always think of three prices they could choose to meet their needs.  Maybe on the bottom price they only get the digital images.  Next level they get prints and on the top end you even provide online galleries.  Be creative think of ways that you can give them a choice.

Learn to say yes!

When a client asks for something that you are uncomfortable with, unless it is unethical price it so you can either bring on help to make it happen or the money is enough to make it worthwhile.  When you are saying to the client I would love to help you and here is how much it is to do that for you then if the price is too high, they said no and not you.

Too many photographers for example say no to not selling their copyright.  Just put the price high enough that it is worth it.  Surely you would like to retire tomorrow for the right price today.

Put yourself in the clients perspective

While you may have done everything just right and it makes sense to you, ask a friend who knows nothing about photography to hear your proposal.  Ask them to let you know if anything doesn’t make sense to them.  Ask them if it feels like you are excited about serving them.

If people are only shopping price rarely will you get the job.  If they are shopping for solving their problem and feeling taken care of by a photographer—you most likely are in the running using these principles.

Friday, March 09, 2012

Serving or being served: The Key To Success

You, my brothers and sisters, were called to be free. But do not use your freedom to indulge the flesh; rather, serve one another humbly in love.
-- Galatians 5:13 

Last week as you know I was teaching students in Hawaii photography.  What I realized once again that when you live in community, as we all do, you must have some order or you will create chaos.

Dennis Fahringer, director of the School of Photography at YWAM in Kona, talks to the students about their trip around the Island.  Important details like when they will leave and what to bring are just a couple of the things Dennis talks to them about.
There are always at least two people's perspectives in community--you and someone else.  The importance of becoming aware of how you carry yourself impacts others is key to the success of a photographer.

While many can and do what works for them, the successful photographer is the one who is concerned about others.  You cannot show concern for a client when you do not show concern for those in your community.  It is much easier for you to learn to live a life that shows how you enjoy serving others than to pick the moments when you decide to care about someone.

Sarah Chapman vacuums the classroom to help keep the place looking presentable and clean.
Self Centered or Client Centered?

You will be either one or the other as a photographer.  I believe the key is to learn to develop a lifestyle that is consistent to which you choose to be.

Now at times we all need to be self centered.  You need to take care of yourself or you cannot be there for others.  The key is not to live your life so that all your time is about serving yourself.

When others take an interest in me, well I just feel good. 

The students are in the studio ready to learn something new.  I was getting ready to teach them some very basic concepts about posing men and women for portraits.
Secret

When I started to understand that photography wasn't all about me having fun and taking photos that I liked, but rather me helping others get photos they needed I not only started to get more jobs, I was having more fun.

I have found that the more I serve my clients the happier they become.  The happier they are usually means they want to use me even more.  When I have more jobs I find I can pay my bills and I become more relaxed.  As I become more relaxed, my creativity goes up and my clients get better work from me.  I then get more jobs.

When I was more self centered, I shot for me and others may have noticed, but rarely hired me.  I was struggling to pay the bills.  My creativity was diminishing. 

Often from the perspective of the student, they are thinking I have paid to sit here and be served.  However, you are living in a community and as you learn to respect the other students your experience is more enjoyable.  The more you see that your fellow students benefit from your input and you from theirs you start to see how when we serve on another we all grow in our knowledge.
Check your gauges

If you are finding that people are coming to you asking you to do something more than the times you are going to them and offering to help you are most likely self centered.  However, if you are rarely getting asked because you are already doing, then great you are on the way to a successful career.

Monday, March 05, 2012

YWAM School of Photography: Mixed Lighting

Here is another lighting assignment for the students.  They were to go outside and use the sun as a back light and then use a strobe as main light.  Here is the assignment and diagram that I sent to them.

Description: Mixed lighting

Items:

Monobloc
You may choose to use your hotshoe flash if you choose, but it must a be off the camera.  Short cord will not work for this.  You need a really long cord to fire the flash or you need to use the radio remotes.  Use extension cords for power or use the battery powered strobes.

Camera
You may use any lens you choose for this assignment.  Fish-eye, wide angle, portrait, telephoto, lens baby or shift.  Make this a strong environmental portrait as you can.

Sun
This is done outside with the sun still lighting the sky.  Can be dusk, dawn or mid day sun.  Be sure the subject is back lighted by the sun and not on their face.

Subject
We need good expressions in this photo.  Maybe have the subject posing with something.  Sitting on a motorcycle or holding a surf board are some examples of what students have done in the past.

Here are the students results:
 
by Elsa Mesot

by Lisa Mironuck

by Annett Rek

by Sharon A. Reitsma

by Deborah Mataia

by Lauren R. Tercero

by Francisco Leon V.

by Janie Wakefield

by Joshua Soon Yong Choi

by Xiaodong Yu

by Hastings Franks

by Katie Suderman

by Sarah L. Quinones

by Malcolm Adair

Sunday, March 04, 2012

Shoot the fringes and not just center stage

Many folks think all the action at a concert is happening on the stage.  While this is why everyone most likely came the fringes are where I often find some of the real gems.

When you hire your photographer, review their work and look for someone who has images that show they are shooting all that is happening and not just the main stage.  

Nikon D3, 14-24mm, ISO 6400, f/2.8, 1/15
While you may think this is the photo I was talking about actually this is just the beginning.

Get there early and capture the people gathering and getting to know each other in the audience. 

Nikon D3, 14-24mm, ISO 320, f/2.8, 1/500

Nikon D3, 14-24mm, ISO 560, f/2.8, 1/500

Nikon D3, 14-24mm, ISO 6400, f/2.8, 1/160
I like shooting the fringes. The advantage of looking for these shots is you are not always down front getting the images on the stage.  So when some of the action happened in the middle of the room I was ready.

Nikon D3S, 28-300mm, ISO 12,800, f/5.6, 1/400

Nikon D3S, 28-300mm, ISO 12,800, f/5.6, 1/125
I actually lucked up and caught someone taking a flash photo and that helped complete the lower photograph.  Nice moment of the performer with the fire and then you can see clearly the audience.

Now don't stop shooting the stage, just don't shoot only the stage.
Nikon D3S, 28-300mm, ISO 4,000, f/5.6, 1/100

Nikon D3S, 28-300mm, ISO 12,800, f/5.6, 1/160

Nikon D3S, 28-300mm, ISO 12,800, f/5.6, 1/200
Nikon D3S, 28-300mm, ISO 12,800, f/5.6, 1/60

Thursday, March 01, 2012

YWAM School of Photography: 1:3 Ratio Lighting

This is the students second shooting assignment this week.

Assignment Description:
1:3 lighting ratio.  This photo is classic lighting.

Items:

Softbox
This light is your main light. Get a light reading with just this first. The light should be 45 degrees off the axis of the camera and 45 degrees above the subjects eyes.

Subject
Your subject should have the main light lighting only part of the face and the shadows should be just a little to show the 1:3 ratio.

White backdrop
Keep the subject a few feet from the background and do not use more lights to light it.

(D)SLR
Choose the lowest ISO.  Use a portrait lens 50mm if you don't have full frame camera can work.  No more than 100mm.

Octobox
This is your fill light and get just a reading of this 2nd.  Be sure it is 1/2 the power (1 f/stop less) than the main light. After this is done get a 3rd light reading of both lights which will be the setting for the camera. It can be level with the eyes, but you may have to move up with glasses to avoid glare.

Here are the results:
by: Lisa Mironuck

by: Sasha Stark

by Annett Rek

by Ellis Peeters

by Malcolm Adair

by Sharon Reitsma

by Lauren R. Tercero

by Joshua Soon Yong Choi

by Janie Wakefield

by Francisco Leon V.

by Deborah Mataia

by Tom Yu

by Elsa Mesot

by Hastings Franks

by Katie Suderman

by Sarah L. Quinones