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You can market your photography business in hundreds of different ways — some incredible effective, and some a total waste of your time. Here are four marketing mistakes or wrong ways to promote your photography business and what you should be doing instead.
By no means does this mean you should act or present yourself unprofessionally in your photography business — but often we hide behind a front of professionalism. If being a professional means a headshot on your website holding your camera (or no headshot at all) and a story about how you love love, and love photographing weddings, it’s unremarkable. Every other photographer does and believes those things.
Through trying to be perceived as a professional, you’ve becoming boring! Yes, you need to conduct your business professionally – but add some zest to your brand. What makes you unique as a human, and therefore, a photographer?
What 5-10 things could you talk about all day? Which things make you excited? What 5-10 things do you dislike? What are 5-10 ways you could describe your personality and your images?
Brainstorm the list of you! Get clear on your interests, personality, photography style, brand, and voice and consistently communicate this uniqueness to your clients.
It’s simple to do a brand audit of your website, blog, and social media accounts. Within 30 seconds, would a new client know what makes you different? What facts will they remember? This is the key to non-boring, but still professional marketing.
In the name of honesty, I have never paid to advertise my photography business. But I’m not against advertising in magazines, wedding shows, or placing Facebook ads. However, advertising without intention is a big marketing mistake many photographers make.
Before you pay hundreds or thousands of dollars for an ad, ask yourself this question, “Is my ideal client hanging out here?”
If you’re not clear on who your ideal client is, that will be the first step! Think back to some of your favorite clients and scribble a list of describing words about their personalities, wedding day, and photos. After you’ve reviewed at least 10 of your past couples, circle any common themes that occur.
Testimonials are a gold mine for sketching out your ideal client. If you don’t have one already, start a document with feedback from your clients and look for themes. What are clients most excited about after working with you? A few more details to include in your client profile include their age, location, career, income bracket, and hobbies.
Once you get clear on who your ideal client is, then you can filter every advertising opportunity through your client profile. Would your ideal client be looking for a wedding photographer in that magazine, at the bridal show, through Facebook ads? If so, wonderful but if not, perhaps your marketing efforts and dollars are best spent elsewhere.
You have a limited amount of time to market your photography business, and you have to make your moments count. Before you get involved on Google Plus, Pinterest, Facebook, Twitter, YouTube, Tumblr, Instagram, etc. – pause.
Is your ideal client finding their wedding photographer on that platform? If you’re not sure — a good place to start would be surveying your past clients and asking “Where did you find me?”
Chances are that a few social media platforms (2-3 maximum) are bringing in most of your inquiries. The other platforms are a waste of your time. For photographers, I have found Instagram and Facebook to be front-runners, perhaps with Pinterest as a third. But you’ll have to investigate the stats for your business.
Once you’ve narrowed down the platforms you want to pursue, let go of the ones that aren’t working! On your chosen platforms, engage consistently with a mix of personal and business posts – sharing your face regularly, sharing work you love and calling prospective clients to action.
One of the best ways to market your photography business is building a strong network within your own industry. By this, I mean connecting with other photographers as well as wedding vendors and venues. However, sending cold impersonal emails is the wrong way to market your business.
If you want to send emails that not only get read but receive a reply back, make sure you do your research. Before you send an email, follow their accounts on social media, leave comments on their blog — so do that at least a week in advance of emailing. When you email, keep it short and to the point. Genuinely compliment their work. Share who you are, what you want and how you can help that person achieve their business goals.
Practically, this may mean helping a vendor by providing free headshots of their staff, photos of their storefront, or offering to help them improve their website or blog one afternoon. Most industry leaders want to help, they were new once as well – but not at a disadvantage to their own time.
If you want to connect with a fellow photographer, asking them for coffee for “tips” is a terrible way to get an email response. Instead, focus on relationship building, helping them in their business, sending a gift in the mail and asking to take them out to their favorite lunch spot. I guarantee your “cold emailing” success rate will increase if you follow these tips
What other mistakes have you make marketing your photography business, or seen others make? Please share your ideas in the comments below.
All the best to you as you work to market your photography business!
The post 4 Marketing Mistakes – How NOT to Promote Your Photography Business appeared first on Digital Photography School.
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(9)When it comes to retouching portraits there are a number of mistakes that I see photographers make over and over. Part of the problem is that there are too many poorly made skin smoothing plugins. Another is that Photoshop gives you too many options for portrait retouching. There is a simple solution for this which I’ll mention at the end of the article.
In the meantime, let’s look at the most common portrait retouching mistakes photographers make so you can avoid them. Don’t feel too bad if you are making any of these errors. Consider it part of the learning process. You’ll learn to avoid these mistakes as your retouching skills improve.
This is a problem you see in commercial photography as well as in the work of hobbyist photographers. If you look closely at a typical cinema photo or a perfume advertisement you’ll see that the models and actors are often retouched to the point they are nearly unrecognizable. They certainly don’t look real or authentic. When this happens in the commercial world it’s little wonder that other photographers imitate what they see and make the same mistakes.
My advice is to consider whether skin smoothing is required in the first place and if it is to apply it with the lightest possible touch. Most photos of men don’t require skin smoothing. It’s conventional to apply some skin smoothing with most portraits of women, but it’s also important to retain skin texture to avoid the plastic skin look.
Two versions of the same portrait. The one on the left has had too much skin smoothing applied. The one on the right has less skin smoothing. You can still see skin texture and the result looks more natural.
The best way to apply skin smoothing that I know of is to use the Adjustment Brush in Lightroom with the Soften Skin preset (this preset comes with Lightroom and affects the Clarity and Sharpness sliders).
When you first apply the preset you’ll see that it’s very strong and as a result the effect is overdone. But you can get around that easily by clicking the black triangle above the Adjustment Brush sliders (below).
When you do so the sliders disappear and are replaced by a single Amount slider. You can set it anywhere from 100 (full effect) to zero (no effect). This lets you apply the skin smoothing effect with a light touch that retains skin texture.
Amongst some photographers, it has become trendy to use Photoshop’s Liquify tool to make the model’s eyes bigger. The idea behind it is simple – large eyes are considered appealing, and enlarging a model’s eyes makes her more attractive.
Where this theory falls down is that most people are smart enough to recognize when this has been done, especially if they know the model personally. It results in an unnatural looking portrait that has lost any authenticity.
One of biggest advantages that software like Lightroom and Photoshop has given photographers is the ability to make highly accurate local adjustments. But it’s so easy to make the model’s eyes whiter, brighter or sharper that many photographers do so without thinking about whether or not it looks natural.
A better approach is to apply the effect subtly and zoom into 100% to check that it looks realistic. Go too far and you end up with a portrait where the model’s eyes attract attention for the wrong reason – they are over-processed rather than being the windows into the person’s soul.
Even professional photographers make this mistake. Recently I saw a friend’s wedding photos and my first thought was that the photographer had applied way too much Clarity, making her look older than she really is. Of course, I didn’t say anything as I didn’t want to spoil her enjoyment of her big day or the wedding photos. But if the photographer had photographed my wedding I would have been very disappointed with the results.
Adding Clarity emphasizes skin texture, blemishes, and wrinkles. For this reason, it’s usually a bad idea to apply it to portraits of women. Normally you do the opposite and apply skin smoothing (which is a negative Clarity adjustment in Lightroom).
With men it’s different. You may want to apply Clarity in order to emphasize skin texture and make the model’s face appear more rugged. You have to judge it on a case by case basis as every portrait is different.
The key, once again, is to apply it subtly rather than with a heavy hand. Your processing technique shouldn’t draw attention to itself.
This is another big mistake that I see photographers make. Over sharpening can come from several sources. For example, if you use the JPEG format rather than Raw then remember that your camera sharpens the photo for you. Any sharpening you apply in post-processing is applied on top of an already sharpened photo.
If you use Raw there is very little need to set Sharpening to anything other than the default settings in your Raw converter. It’s rare that any additional sharpening is required on top of that. Remember that the effect of Sharpening is heightened if used in conjunction with applying Clarity.
The best approach to Sharpening is to use your software’s default settings and to never apply any additional Sharpening on top of that. If you do apply extra Sharpening, you need to zoom into your portrait to check the effect on the eyes and eyelashes, as this is where artifacts caused by over-sharpening are most likely to appear.
Note: Remember to use the mask feature of the sharpening tools in LR and ACR. That will help keep the sharpening to only edges and not smooth areas like skin or sky.
Another aspect we haven’t discussed yet is to think about exactly what you want to achieve with your portrait processing. For example, you have probably guessed by now that I favor a natural, authentic approach to portraiture. That means using natural light, prime lenses, wide apertures and minimal processing. These techniques help me achieve the look I’m after.
Other photographers may be more commercially minded. If this is you, then a slightly more heavy-handed approach may be required. Even so, it’s wise to apply skin smoothing and other portrait retouching techniques subtly, rather than over-process your portraits.
At the beginning of the article, I mentioned a simple solution to the problem of over-processing portraits. The solution is this – use Lightroom. Don’t use Photoshop and don’t use a portrait retouching plugin.
There is no Liquify tool in Lightroom so you won’t be tempted to change the shape of a model’s eyes or face. There’s only one skin smoothing preset, so you should be able to avoid the temptation to over smooth the model’s skin. There is no high pass filter or other fancy sharpening techniques, so this should prevent you from over sharpening your portraits (be careful with the Clarity slider though!).
What are the most common portrait retouching mistakes you’ve seen or made yourself? Let us know what you think in the comments below.
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The post Five Common Portrait Retouching Mistakes to Avoid appeared first on Digital Photography School.
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Last week we photographed our feathered friends, how about some furry ones this week?
Need some help? Try these articles:
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
The post Weekly Photography Challenge – Dogs and Puppies appeared first on Digital Photography School.
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Here on dPS, we’ve covered this topic in previous articles. For example: How to Choose the Perfect Portrait Lens.
In the following videos, see which lens these photographers chose and why.
Portrait photographer, Manny Ortiz takes you to a live shoot in this video. Watch as he shoots the same subject, in the same location with both the 85mm f/1.4 and a 70-200mm f/2.8 lenses.
See how they differ and watch all the way to the end to find out which is his favorite lens and why.
In this next video, Gabriel Sanchez (Gabe) talks about the four lenses he uses most often for portraits and which are his go-to and favorites.
He goes over the 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, and a Sigma 85mm f/1.4, and the benefits and results you can get with each lens. See why he says there is no “perfect” or best portrait lens, watch to the end.
Finally, get a different point of view from fashion photographer Julia Trotti as she explains why the 35mm f/1.4 and 50mm f/1.2 are her favorite lenses.
So at the end of the day which lens are you going to choose for doing portraits? Do you have any favorites? Tell us which lenses you use and why in the comments below.
If you’re still undecided here are some more dPS articles to help you out:
The post How to Choose the Best Portrait Lens According to Three Professional Photographers appeared first on Digital Photography School.
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Macro photography can be incredibly rewarding. However, it can also be frustrating if you find yourself shooting the same photographs over and over again, struggling to improve. You find yourself uninspired. Trust me, I’ve been there.
But there are a few simple tips that you can take to improve your macro photography, right now. The tips that follow will help you take your macro photography to the next level, and they won’t bog you down with technical details, either.
You might be tempted to shoot subjects such as flowers the way that you would a headshot – putting space around the subject, so that flowers are fully recognizable as, well, flowers. However, I urge you not to take a step back, but rather to take a step closer. If you can, think not in terms of “flower” and “background,” but in terms of shapes and lines.
If you have a dedicated macro lens, use it. Experiment with high magnifications and see how that opens up whole new worlds for you to shoot. Look for abstract compositions that make use of shapes and color. Fill the frame completely with your subject.
I used my macro lens to emphasize the lines and colors of this dahlia.
Lighting is incredibly important in macro photography. However, you can boil things down to a few simple rules of thumb:
When I say “morning,” I’m talking about very early, during what photographers often call the “golden hours“. Essentially, these are the first two hours after sunrise.
The same goes for the evening. If it is sunny, I suggest you wait until two hours before sunset. One hour before is even better.
I took this image in the evening, which ensured some great golden light.
These morning and evening hours are the times when soft, golden light falls on your subject. Not only does this result in a more evenly lit subject and an easier exposure, but the golden cast simply looks beautiful.
If conditions seem a bit too bright, you can also create really interesting images by using the shade. For instance, try working with a subject that is in the shade, while the background is lit by the (hopefully setting) sun.
I photographed this flower as the sun was setting, positioning myself so that the background was well lit, but the flower itself remained shaded.
Midday sunlight tends to be incredibly harsh and results in photographs that are very washed out and contrasty.
Hence: if you’re shooting in the middle of the day, make sure that it’s cloudy. The clouds will serve to diffuse the light, allowing for wonderfully saturated colors.
I photographed this coneflower on a cloudy day, ensuring that the colors were nicely saturated.
If you find yourself in a situation where you absolutely must take images and you cannot wait until conditions become better, then you can try to offset the harshness of the sun by shooting in the shade, using a reflector, or by using a flash.
The artificial lights plus this flower made for a fun photography session.
One of the mistakes that I made most when I was first starting macro photography was not thinking about my angle to the subject. For instance, I would point my camera down at a 45-degree angle, so that I would capture subjects as if I were a few feet in front of me as I walked.
While intuitive, this approach often results in a less appealing image. It causes elements of the subject to become messy, to cross over one another. It also tends to distort the shape of the subject, so that the overall impact is lessened.
First: place the subject at eye level. For instance, if you are photographing a tulip, crouch down so that the tulip is directly before you. If you are photographing an insect, you should be staring directly into its face.
By photographing this flower at eye level, I was able to create an even composition.
Second: place the subject directly below you. That is, you should be looking straight down so that the petals of an open flower are parallel to the camera sensor.
By composing from directly above this hibiscus, I was able to emphasize its geometry.
Of course, these are just starting points. Pleasing images can be made from many angles, and a lot depends on the subject itself. But these are good places from which to begin.
This tip is very simple – before taking an image, look your subject over. Is it at its peak? Or is it on its way out, wilting, or dying?
If the latter is the case, then try to search for a better-looking flower. Unfortunately, such elements can really detract from an otherwise excellent image.
I found this rose in excellent condition.
Also, look for things like bugs, dirt, and torn petals. These are all indicators that you should search for a better subject.
Though it’s worth noting that sometimes wilting flowers can make for very interesting images. Just be sure that, if you are photographing a subject that’s on its way out, you compose with that in mind.
I focused on this wilting daisy in order to create a more somber photograph.
One final tip for really enhancing your macro photographs is to think about the background before taking that shot. This is probably the most important of all these tips because careful attention to background can make for incredibly special images.
What should you consider?
First and foremost, look for backgrounds that are simple and uncluttered. A background that doesn’t distract is often enough to ensure a great image. However, it can also pay to be creative, by shifting your position so that colorful elements, such other flowers, or a sunset, sit behind the subject.
You might also use bright spots to your advantage, working so that they frame your subject.
The colorful flowers behind this subject made for an interesting background.
By moving in close, considering the light, angle, subject quality, and the background, you can quickly improve your macro photography. Hopefully, you’ll have a lot of fun doing it as well.
If you have any other tips for people just starting with macro photography, please share them in the comments below.
The post Five Ways to Take Your Macro Photography to the Next Level appeared first on Digital Photography School.
