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A Brief History of Photography: The Beginning

Photography. An art form invented in 1830s, becoming publicly recognised ten years later.

Today, photography is the largest growing hobby in the world, with the hardware alone creating a multi-billion dollar industry. Not everyone knows what camera obscura or even shutter speed is, nor have many heard of Henri Cartier-Bresson or even Annie Leibovitz.

In this article, we take a step back and take a look at how this fascinating technique was created and developed.

Before Photography: Camera Obscura

Before photography was created, people had figured out the basic principles of lenses and the camera. They could project the image on the wall or piece of paper, however no printing was possible at the time: recording light turned out to be a lot harder than projecting it. The instrument that people used for processing pictures was called the Camera Obscura (which is Latin for the dark room) and it was around for a few centuries before photography came along.

It is believed that Camera Obscura was invented around 13-14th centuries, however there is a manuscript by an Arabian scholar Hassan ibn Hassan dated 10th century that describes the principles on which camera obscura works and on which analogue photography is based today.

Camera Obscura is essentially a dark, closed space in the shape of a box with a hole on one side of it. The hole has to be small enough in proportion to the box to make the camera obscura work properly. Light coming in through a tiny hole transforms and creates an image on the surface that it meets, like the wall of the box. The image is flipped and upside down, however, which is why modern analogue cameras have made use of mirrors.

In the mid 16th century, Giovanni Battista della Porta, an Italian scholar, wrote an essay on how to use camera obscura to make the drawing process easier. He projected the image of people outside the camera obscura on the canvas inside of it (camera obscura was a rather big room in this case) and then drew over the image or tried to copy it.

The process of using camera obscura looked very strange and frightening for the people at those times. Giovanni Battista had to drop the idea after he was arrested and prosecuted on a charge of sorcery.

Even though only few of the Renaissance artists admitted they used camera obscura as an aid in drawing, it is believed most of them did. The reason for not openly admitting it was the fear of being charged of association with occultism or simply not wanting to admit something many artists called cheating.

Today we can state that camera obscura was a prototype of the modern photo camera. Many people still find it amusing and use it for artistic reasons or simply for fun.

The First Photograph

Installing film and permanently capturing an image was a logical progression.

The first photo picture—as we know it—was taken in 1825 by a French inventor Joseph Nicéphore Niépce. It records a view from the window at Le Gras.

The exposure had to last for eight hours, so the sun in the picture had time to move from east to west appearing to shine on both sides of the building in the picture.

Niepce came up with the idea of using a petroleum derivative called "Bitumen of Judea" to record the camera's projection. Bitumen hardens with exposure to light, and the unhardened material could then be washed away. The metal plate, which was used by Niepce, was then polished, rendering a negative image that could be coated with ink to produce a print. One of the problems with this method was that the metal plate was heavy, expensive to produce, and took a lot of time to polish.

Photography Takes Off

In 1839, Sir John Herschel came up with a way of making the first glass negative. The same year he coined the term photography, deriving from the Greek "fos" meaning light and "grafo"—to write. Even though the process became easier and the result was better, it was still a long time until photography was publicly recognized.

At first, photography was either used as an aid in the work of an painter or followed the same principles the painters followed. The first publicly recognized portraits were usually portraits of one person, or family portraits. Finally, after decades of refinements and improvements, the mass use of cameras began in earnest with Eastman's Kodak's simple-but-relatively-reliable cameras. Kodak's camera went on to the market in 1888 with the slogan "You press the button, we do the rest".

In 1900 the Kodak Brownie was introduced, becoming the first commercial camera in the market available for middle-class buyers. The camera only took black and white shots, but still was very popular due to its efficiency and ease of use.

Color Photography

Color photography was explored throughout the 19th century, but didn't become truly commercially viable until the middle of the 20th century. Prior to this, color could not preserved for long; the images quickly degraded. Several methods of color photography were patented from 1862 by two French inventors: Louis Ducos du Hauron and Charlec Cros, working independently.

The first practical color plate reached the market in 1907. The method it used was based on a screen of filters. The screen let filtered red, green and/or blue light through and then developed to a negative, later reversed to a positive. Applying the same screen later on in the process of the print resulted in a color photo that would be preserved. The technology, even though slightly altered, is the one that is still used in the processing. Red, green and blue are the primary colors for television and computer screens, hence the RGB modes in numerous imaging applications.

The first color photo, an image of a tartan ribbon (above), was taken in 1861 by the famous Scottish physicist James Clerk Maxwell, who was famous for his work with electromagnetism. Despite the great influence his photograph had on the photo industry, Maxwell is rarely remembered for this as his inventions in the field of physics simply overshadowed this accomplishment.

The First Photograph With People

The first ever picture to have a human in it was Boulevard du Temple by Louis Daguerre, taken in 1838. The exposure lasted for about 10 minutes at the time, so it was barely possible for the camera to capture a person on the busy street, however it did capture a man who had his shoes polished for long enough to appear in the photo.

Notables in Photography

At one time, photography was an unusual and perhaps even controversial practice. If not for the enthusiasts who persevered and indeed, pioneered, many techniques, we might not have the photographic styles, artists, and practitioners we have today. Here are just a few of the most influential people we can thank for many of the advances in photography.

Alfred Stieglitz

Photography became a part of day-to-day life and an art movement. One of the people behind photography as art was Alfred Stieglitz, an American photographer and a promoter of modern art.

Stieglitz said that photographers are artists. He, along with F. Holland Day, led the Photo-Secession, the first photography art movement whose primary task was to show that photography was not only about the subject of the picture but also the manipulation by the photographer that led to the subject being portrayed.

Stieglitz set up various exhibitions where photos were judged by photographers. Stieglitz also promoted photography through newly established journals such "Camera Notes" and "Camera Work".

Example of Stieglitz's Work

Gaspard-Félix Tournachon (Felix Nadar)

Felix Nadar (a pseudonym of Gaspard-Félix Tournachon) was a French caricaturist, journalist and—once photography emerged—a photographer. He is most famous for pioneering the use of artificial lightning in photography. Nadar was a good friend of Jules Verne and is said to have inspired Five Weeks in a Balloon after creating a 60 metre high balloon named Le Géant (The Giant). Nadar was credited for having published the first ever photo interview in 1886.

Nadar's portraits followed the same principles of a fine art portrait. He was known for depicting many famous people including Jules Verne, Alexander Dumas, Peter Kropotkin and George Sand.

Example of Nadar's Work

Henri Cartier-Bresson

Henri Cartier-Bresson was a French photographer who is most famous for creating the "street photography" style of photojournalism, using the new compact 35mm format (which we still use today). Around the age of 23, he became very interested in photography and abandoned painting for it. "I suddenly understood that a photograph could fix eternity in an instant," he would later explain. Strangely enough, he would take his first pictures all around the world but avoided his native France. His first exhibition took place in New York's Julien Levy Gallery in 1932. Cartier-Bresson's first journalistic photos were taken at the George VI coronation in London however none of those portrayed the King himself.

The Frenchman's works have influenced generations of photo artists and journalists around the world. Despite being narrative in style, his works can also be seen as iconic artworks. Despite all the fame and impact, there are very few pictures of the man. He hated being photographed, as he was embarrassed of his fame.

Example of Cartier-Bresson's Work

Check This Link To Know More About Photography : https://bit.ly/39Rpdsc

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Top 10 Digital Photography Tips

Top 10 Digital Photography Tips

Whether you are a beginner or more experienced with photography, here are some of our favorite tips that will help you improve your photography!

1. Use the Rule of Thirds

This rule helps you take eye-catching pictures by using one of the most effective rules of composition.

If you want to take pictures that have a “wow” factor built in them, the Rule of Thirds is the composition secret you need to take advantage of!

To use the rule of thirds, imagine four lines, two lying horizontally across the image and two vertical creating nine even squares. Some images will look best with the focal point in the center square, but placing the subject off-center at one of the intersecting points of the imaginary lines will often create a more aesthetically composed photograph.

When a photograph is composed using the rule of thirds the eyes will wander the frame. A picture composed using the rule of thirds is usually more pleasing to the eye.

If you want to take great photos that you’d be proud of, by using the rules of composition.

2. Avoid Camera Shake

Camera shake or blur is something that can plague any photographer and here are some ways to avoid it.

First, you need to learn how to hold your camera correctly; use both hands, one around the body and one around the lens and hold the camera close to your body for support.

Also, for handheld shooting, make sure that you are using a shutter speed that is appropriate for your lens’ focal length. If you’re shutter speed is too slow, any unintentional movement of the camera will result in your entire photograph coming out blurry.

The rule of thumb is not to shoot at a shutter speed that is slower than your focal length to minimize this problem:

1 / Focal Length (in mm) = Minimum Shutter Speed (in seconds)

So, as an example, if you’re using a 100mm lens, then your shutter speed should be no lower than 1/100th of a second.

Use a tripod or monopod whenever possible.

Are you confused by any of the terminology? Do you want to easily control your camera and finally get rid of the confusion about focal length, aperture, shutter speed, and other settings?

If so, check out our most recommended course: Extremely Essential Camera Skills. It’s the easiest and quickest way to learn how to take great photos while learning all the basics of your camera.

3. Learn to use the Exposure Triangle

To get your photos looking their best, you need to master the three basics: Aperture, Shutter Speed and ISO.

You also need to understand the relationships between these three controls. When you adjust one of them, you would usually have to consider at least one of the others, to get the desired results.

Using Auto Mode takes care of these controls, but you pay the price of not getting your photos to look the way you wanted them, and often disappointing.

It’s a better idea to learn how to use Aperture-priority or Shutter-priority modes, and ultimately shoot in Manual mode.

4. Use a Polarizing Filter

If you can only buy one filter for your lens, make it a polarizer.

The recommended type of polarizer is circular because these allow your camera to use TTL (through the lens) metering such as auto exposure.

This filter helps reduce reflections from water as well as metal and glass; it improves the colors of the sky and foliage and will help give your photos the WOW factor. It will do all that while protecting your lens. There’s no reason why you can’t leave it on for all of your photography.

5. Create a Sense of Depth

When photographing landscapes, it helps to create a sense of depth, in other words, make the viewer feel like they are there.

Use a wide-angle lens for a panoramic view and a small aperture of f/16 or smaller to keep the foreground and background sharp. Placing an object or person in the foreground helps give a sense of scale and emphasizes how far away the distance is.

Use a tripod if possible, as a small aperture usually requires a slower shutter speed.

6. Use Simple Backgrounds

The simple approach is usually the best in digital photography, and you have to decide what needs to be in the shot, while not including anything that is a distraction.

If possible, choose a plain background – in other words, neutral colors and simple patterns. You want the eye to be drawn to the focal point of the image rather than a patch of color or an odd building in the background. This is especially vital in a shot where the model is placed off center.

7. Don’t Use Flash Indoors

Flash can look harsh and unnatural especially for indoor portraits. Therefore, there are various ways you can take an image indoors without resorting to flash.

First, push the ISO up – usually ISO 800 to 1600 will make a big difference for the shutter speed you can choose. Use the widest aperture possible – this way more light will reach the sensor, and you will have a nice blurred background. Using a tripod or an I.S. (Image Stabilization) lens is also a great way to avoid blur.

If you absolutely must use flash, then use a flash with a head you can rotate, and point the light to the ceiling on an angle.

8. Choose the Right ISO

The ISO setting determines how sensitive your camera is to light and also how fine the grain of your image.

The ISO we choose depends on the situation – when it’s dark we need to push the ISO up to a higher number, say anything from 400 – 3200 as this will make the camera more sensitive to light, and then we can avoid blurring.

On sunny days we can choose ISO 100 or the Auto setting as we have more light to work with.

9. Pan to Create Motion

If you want to capture a subject in motion, then use the panning technique. To do this, choose a shutter speed around two steps lower than necessary – so for 1/250, we’d choose 1/60. Keep your camera on the subject with your finger half way down on the shutter to lock the focus and when ready, take the photo, remembering to follow them as they move.

Use a tripod or monopod if possible to avoid camera shake and get clear movement lines.

10. Experiment with Shutter Speed

Don’t be afraid to play with the shutter speed to create some interesting effects.

When taking a night time shot, use a tripod and try shooting with the shutter speed set at 4 seconds. You will see that the movement of the object is captured along with some light trails.

If you choose a faster shutter speed of say 1/250th of a second, the trails will not be as long or bright; instead, you will freeze the action.

Try shooting other compositions with moving objects or backgrounds such as waves on a beach, crowds of people walking, cars commuting, with different shutter speeds to either capture blurred movement or snapshots that freeze everything sharply in time.

BONUS TIP: Invest More In Learning (and Less on Gear)

If you’re thinking about spending thousands on new cameras and lenses, think twice.

People often end up disappointed that their shiny new toys aren’t producing that “wow” factor they were expecting.

You can take stunning photos that you’ll be proud of, even with a modest digital camera fitted with its standard zoom lens. But you need to have a solid understanding of the basics.

That’s why it is critical to master composition and light, before spending anything on new gear.

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The Power of Photography

Photographers use their cameras as tools of exploration, passports to inner sanctums, instruments for change. Their images are proof the photography matters-now more than ever.

THIRTY-FOUR YEARS BEFORE the birth of this magazine, the Danish philosopher Søren Kierkegaard sourly prophesied a banal fate for the newly popularized art of photography. “With the daguerreotype,” he observed, “everyone will be able to have their portrait taken—formerly it was only the prominent—and at the same time everything is being done to make us all look exactly the same, so we shall only need one portrait.”

The National Geographic Society did not set out to test Kierkegaard’s thesis, at least not right away. Its mission was exploration, and the gray pages of its official journal did not exactly constitute a visual orgy. Years would go by before National Geographic’s explorers would begin using the camera as a tool to bring back what is now its chief source of fame: photographic stories that can alter perceptions and, at their best, change lives.

By wresting a precious particle of the world from time and space and holding it absolutely still, a great photograph can explode the totality of our world, such that we never see it quite the same again. After all, as Kierkegaard also wrote, “the truth is a snare: you cannot have it, without being caught.”

Today photography has become a global cacophony of freeze-frames. Millions of pictures are uploaded every minute. Correspondingly, everyone is a subject, and knows it—any day now we will be adding the unguarded moment to the endangered species list. It’s on this hyper-egalitarian, quasi-Orwellian, all-too-camera-ready “terra infirma” that National Geographic’s photographers continue to stand out. Why they do so is only partly explained by the innately personal choices (which lens for which lighting for which moment) that help define a photographer’s style. Instead, the very best of their images remind us that a photograph has the power to do infinitely more than document. It can transport us to unseen worlds.

When I tell people that I work for this magazine, I see their eyes grow wide, and I know what will happen when I add, as I must: “Sorry, I’m just one of the writers.” A National Geographic photographer is the personification of worldliness, the witness to all earthly beauty, the occupant of everybody’s dream job. I’ve seen The Bridges of Madison County—I get it, I’m not bitter. But I have also frequently been thrown into the company of a National Geographic photographer at work, and what I have seen is everything to admire and nothing whatsoever to envy. If what propels them is ferocious determination to tell a story through transcendent images, what encumbers their quest is a daily litany of obstruction (excess baggage fees, inhospitable weather, a Greek chorus of “no”), interrupted now and then by disaster (broken bones, malaria, imprisonment). Away from home for many months at a time—missing birthdays, holidays, school plays—they can find themselves serving as unwelcome ambassadors in countries hostile to the West. Or sitting in a tree for a week. Or eating bugs for dinner. I might add that Einstein, who snarkily referred to photographers as lichtaffen, meaning “monkeys drawn to light,” did not live by 3 a.m. wake-up calls. Let’s not confuse nobility with glamour. What transfixes me, almost as much as their images, is my colleagues’ cheerful capacity for misery.

Apparently they wouldn’t have it any other way. The lodestone of the camera tugged at each of them from their disparate origins (a small town in Indiana or Azerbaijan, a polio isolation ward, the South African military), and over time their work would reflect differentiated passions: human conflict and vanishing cultures, big cats and tiny insects, the desert and the sea. What do the National Geographic photographers share? A hunger for the unknown, the courage to be ignorant, and the wisdom to recognize that, as one says, “the photograph is never taken—it is always given.”

In the field I’ve seen some of my lens-toting compatriots sit for days, even weeks, with their subjects, just listening to them, learning what it is they have to teach the world, before at last lifting the camera to the eye. Our photographers have spent literally years immersed in the sequestered worlds of Sami reindeer herders, Japanese geisha, and New Guinea birds of paradise. The fruit of that commitment can be seen in their photographs. What’s not visible is their sense of responsibility toward those who dared to trust the stranger by opening the door to their quiet world. It’s a far riskier and time-consuming proposition to forgo the manipulated shot and instead view photography as a collaborative venture between two souls on either side of the lens.

Conscience is the other trait that binds these photographers. To experience the beauty of harp seals swimming in the Gulf of St. Lawrence is also to see the frailty of their habitat: scores of seal pups drowning due to the collapse of ice floes, a direct consequence of climate change. To witness the calamity of war in the gold-mining region of the Democratic Republic of the Congo is also to envision a glimmer of hope: Show the gold merchants in Switzerland what their profiteering has wrought, and maybe they’ll cease their purchases.

In the past 125 years, it turns out, Kierkegaard has been proved both wrong and right about photography. The images in National Geographic have revealed a world not of sameness but of wondrous diversity. But they have also, increasingly, documented societies and species and landscapes threatened by our urge for homogenization. The magazine’s latter-day explorers are often tasked with photographing places and creatures that a generation later may live only in these pages. How do you walk away from that? If my colleagues suffer a shared addiction, it’s to using the formidable reach and influence of this iconic magazine to help save the planet. Does that sound vainglorious? Ask the Swiss gold merchants. They saw Marcus Bleasdale’s images at a Geneva exhibit, and their Congolese gold purchases halted almost overnight.

Of course, every professional photographer hopes for The Epic Shot, the once-in-a-lifetime collision of opportunity and skill that gains a photograph instant entry into the pantheon alongside Joe Rosenthal’s Iwo Jima, Bob Jackson’s encounter with Jack Ruby gunning down Lee Harvey Oswald, and the Apollo 8 astronauts’ color depictions of planet Earth in its beaming entirety. And yet, game-changing photographs are not what National Geographic photographers do. The most iconic photograph ever to grace these pages is not of anyone or anything historic. Rather, it’s of Sharbat Gula, an Afghan girl of maybe 12 when photographer Steve McCurry encountered her in 1984 at a refugee camp in Pakistan. What her intense, sea-green eyes told the world from the cover of National Geographic’s June 1985 issue a thousand diplomats and relief workers could not. The Afghan girl’s stare drilled into our collective subconscious and stopped a heedless Western world dead in its tracks. Here was the snare of truth. We knew her instantly, and we could no longer avoid caring.

McCurry shot his immortal portrait well before the proliferation of the Internet and the invention of the smartphone. In a world seemingly benumbed by a daily avalanche of images, could those eyes still cut through the clutter and tell us something urgent about ourselves and about the imperiled beauty of the world we inhabit? I think the question answers itself.

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Why We Do It: Photographers and Photo Editors on the Passion That Drives Their Work

The people who make up today’s thriving photographic community are our eyes to the world. Whether established artists and journalists or passionate emerging voices, they inform us, they inspire us, they amaze us, they put our world in the broader context of history.

But that community also faces great challenges — dwindling sales, increased competition and a fragile trust in photographers’ mission to inform. Too often, those factors can make those of us in that community, photographers and photo editors alike, lose sight of what drive us.

For this post, my last as editor of TIME LightBox, I asked 13 of my colleagues – some of the many photographers and photo editors who have influenced and inspired me over my last ten years in this industry – to answer these essential questions: Why do they do it? Why do they wake up every morning ready to take photographs, to edit them, to publish them? Why is photography important to them and, by extension, to all of us?

Here are their answers.

Kathy Ryan, Director of Photography, the New York Times Magazine

Photographs are the universal language of our era. Everyone has hundreds, maybe thousands in their pocket. Weightless, they turn the scale when the argument is: What happened here? Images don’t age or warp. A great photographer’s strings never go out of tune.

It is for this reason that we need photographers. They are the ones who sort all the chaos of the world into images that bring clarity to the free-for-all of life. They are the witnesses and artists who can distill the mayhem and beauty that surrounds us. They call our attention to the things we miss in our everyday lives and they call our attention to events and people at a great distance from our own patch of the universe. When they direct our eyes and hearts with precision and honesty, we know what we know differently and better. Photographers teach us to look again, look harder. Look through their eyes.

Ruddy Roye, Photographer

I shoot because I see. I shoot because if I don’t, I don’t know who will. Activism is seen as a dirty word. I shoot because I find peace in being especially active, and being a vigorous advocate for a cause.

How does one define what a “cause” is? According to Webster, it is “a person or thing that acts, happens, or exists in such a way that some specific thing happens as a result; the producer of an effect.”

I wish that every image I photograph reexamines and redefines the image of the black man, the black woman, and the black child. My photography is first and foremost a catalyst or reason to motive human action. Every picture I take asks the questions, “Who am I and what is my role here on this earth?” It is my way of seeing. It is my way of saying this is another way of seeing me.

Sarah Leen, Director of Photography, National Geographic

I have spent my entire professional life creating, editing, critiquing or teaching photography and working with photographers. It has been the way that I have experienced much of the world. In a deeply personal way I feel an image is a poem about time, about “staying the moment.” Photography can defeat time. Images can keep the memory of a loved one alive, hold a moment in history for future generations, be a witness to tragedy or joy. They can also change behavior, stimulate understanding and create a sense of urgency that will move people to action. Photography is the universal language that speaks to the heart.

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How to Start a Successful Photography Business

If you have some creative photography chops, you might want to open your own business. You’re not alone in wanting to turn your creative outlet into a money-making venture. Photography is a popular profession and hobby right now—and that’s the problem. As camera gear has become more affordable and consumer-friendly, and almost every smartphone now features a great camera, everyone’s a photographer.

But, that doesn’t mean you should toss your dreams of owning a photography business aside. It just means you may have to work a little harder to set yourself apart from the flock of amateur shooters.

To help you find your photography foothold, we asked three professional photographers who started their own businesses to share their tips for success.

The planning stages

Before you buy a camera and create a website, you’ll want to do a little prep work.

1. Write a photography business plan

For starters, wedding and event photographer Peggy Farren says you need a business plan. Any serious entrepreneur will tell you that you need to organize your thoughts on paper. This detailed document serves as your roadmap, describing what your business is and how it will be profitable. It breaks down things like cash flow, expenses, ownership, and competition.

“Photography is one of the most competitive businesses out there,” Farren says. “You need to be a very good business person to make a decent living. You’ll get there much more quickly if you start out right.”

Creating a business plan may seem like a daunting task, but it doesn’t have to be if you have the right tools. Check out this free, downloadable sample photography business plan.

2. Assess your photography business startup costs

As part of your business planning process, you’ll need to assess your startup costs. What are the essentials that you’ll need before you can really launch your business?

Camera equipment alone can cost upwards of $10,000, Farren says. You’ll also need business licenses, insurance, a website, and accounting software like QuickBooks or Xero.

What about a studio?

Do you plan to start with a dedicated studio space or work out of your home? If you need office space, you’ll need to investigate commercial rental properties and figure that monthly cost, along with the cost of utilities, into your financial plan.

3. Secure startup funds

If you have enough money in your bank account to start your business you may not need to borrow money, but many entrepreneurs need assistance. Many people who are starting a business for the first time end up asking family or friends for help, or keeping their day job until their business is self-sustaining.

Whether you ask friends and family for financial assistance or apply for a bank loan, you’ll need a business plan in place that lays out how you’ll spend the funds and when or how you’ll pay your lenders back.

4. Figure out your personal finances

If you’re just starting out, realize that your business probably isn’t going to be profitable overnight. It took 18 months for Farren’s business to break even and make enough money to pay the bills. Like Farren, you might have to work another job to make ends meet until your business is generating enough money.

5. Get professional experience

You’ll need to show your prospective clients what you can do, and working alongside a professional photographer is a great way to get some experience and start to build a portfolio. Farren worked as a photographer’s assistant while starting her own business.

Equally important is using that experience to put together a photography portfolio that demonstrates your skill. Consider your audience and build the portfolio around what they want to see. Keep it updated, so new potential clients can see current and relevant work.

6. Buy camera gear

When it comes to camera gear, Farren says you’ll need two cameras, two high-quality lenses, two flashes, and Photoshop and Lightroom to edit the images. Why two cameras? You need backup equipment. Even new equipment breaks, Farren says.

If you buy used gear, you can get everything for about $5,000, but Farren says $10,000 is more realistic. Of course, you can always upgrade gear as you go.

7. Come up with a pricing plan

How much will you charge for your services? It’s a tough question for every photographer, especially when you’re just starting out. Figure out what one hour of your time is worth. Let’s say your time is worth $50/hour.

For every hour you spend shooting, you’ll spend about three hours editing. You need to factor that into your pricing. So, in this equation, you would charge $200 for a one-hour photo session. Of course, your pricing structure is your own, this is just a way to come up with a starting point.

8. Invest in a killer website

Once you’ve come up with a name for your photography business, you’ll need a website. There are free website templates out there, but your website is like your storefront. You want it to be impressive, so think about whether it’s better to have your website professionally created.

Your website should, of course, showcase your work. That’s what your clients will want to see. Keep your site organized by breaking your galleries up by category. Include a picture of yourself and a page that describes your background and experience.

Contact information is also a must. It’s a good idea to list at least some of your prices. This helps manage customer expectations and keeps people from trying to negotiate for a lower price. Here’s what Farren uses as a pricing guide on her website.

Ok, you’ve got everything in place and you’re ready to start shooting pictures. Now, how do you get customers?

9. Create your own brand

Jason and JoAnne Marino have a unique brand for their photography business.

You need to set yourself apart from others, according to husband and wife photography duo Jason and Joanne Marino. The pair own Imagine Photography, a company that attracts couples who are interested in unique wedding pictures, not the conventional altar photos.

“You can’t be everything to everybody or you’ll fail miserably,” Jason Marino says. “To attract customers you must carve out a brand and style.”

Start by identifying your target market. Do you prefer to do maternity shots? Newborns? Senior portraits for high schoolers?

Figure out what makes you unique as a photographer and use it to brand your business.

10. Make time to network

As a photographer and a new business owner, you need to network your heart out, Marino says.

“You can be the greatest photographer in the world, but unless people know about you, it won’t do you any good,” he says. “Join groups, forums, clubs, collectives, whatever you can. Make sure these people know about you and respect you, and you’ll get referrals.”

11. Be a people person

As a photographer, you don’t just need mad composition skills, you need people skills too, Marino says. You want to make sure the client has a great experience. Not only will your client trust you, which results in great shots, but a good experience also means your client will refer you to others.

If appropriate, meet with your clients before the shoot. Wedding photographers set up engagement photo sessions as a way to get to know their clients before the big day. If you’re not offering wedding photography, make sure you sit down and talk with the client before you start snapping pictures.

Make a little small talk and chat about expectations. Remember, you’re not just selling great pictures—you’re selling an experience.

12. Have a friends and family rule

Your friends and family will probably be some of your first customers, which is great. You’ll be extremely grateful for the opportunity and probably feel inclined to give them a discount. There’s nothing wrong with that, but remember, you’re trying to make a living. You should come up with a standard friends and family plan and stick to it.

13. Use social media to promote yourself

Social media is a great promotion tool, but it’s best to start out with one or two sites and use them consistently. Facebook might be a good option, but you might want to lean towards one of the more visual social media channels like Instagram. One of the most important pieces of keeping whatever channel you choose to use active and updated.

When the Marinos are working on a shoot, they share teaser pictures on their Facebook page like the example below. It’s a great way to showcase work and keep customers interested.

Grow your business

Now that you’ve got the wheels in motion, let’s talk about how to pick up the pace.

14. Up your marketing game

Jane Goodrich, a New York-based children’s photographer, says one of the best ways to grow your business is to invest more in marketing.

Google ads

Goodrich swears by Google ads. She uses some of her marketing budget to buy keywords that generate more website traffic.

Team up with charities

Farren uses other unique techniques to grow her business. For instance, she teams up with charities that run high-end silent auctions.

“Not only are you getting your name in front of wealthy people, but in most cases, the clients will purchase much more than the free prints that come with the package they bought at the auction,” she says.

Generate an email list and add to it constantly

Through the years, Farren has also generated an impressive email list. She uses that list to send clients a monthly newsletter, which she says is her best marketing tool. She credits a lot of her repeat business to the newsletter as it keeps her business top of mind to her customers.

Whenever you’re at an event, set out an email sign-up form for people to opt into your newsletters.

Maintain a blog

A blog is a great way to establish authority in your field. It’s an open platform to showcase your talent, tips, and opinions. Write about your experiences, your work process, your equipment, how you plan the shots, etc. The topics are endless!

15. Make a savings plan and pay attention to cash flow

It takes time to draw profits from your business, and it takes even longer to put a few bucks in the savings account. But saving money should be a priority as you grow your business. No matter what kind of photography you do, you will sooner or later hit a slow month, Goodrich says. Save money when you’re busy so the lean months are easier to handle. This is about paying attention to your cash flow, or when cash comes into and out of your business.

On that note, make your payment terms clear. Many photographers will require a deposit upfront and the balance before releasing photos to the client. Whatever your payment terms, make sure your clients know what they are.

If you do invoice clients after you’ve already done a shoot, make sure you invoice immediately and that you’ve clearly articulated when payment is due. Waiting for clients to pay you can create a cash flow problem, even if you have plenty of business, and on paper, your business is bringing in lots of revenue. Until you have cash in hand, you can’t pay your own bills.

16. Reinvest in the business

Once you have at least three months’ worth of income socked away, then you can start thinking about reinvesting it. From new lenses to better editing software, new pieces of technology can improve your product. To make wise decisions, make a list of the items you want. Prioritize the list and shop around for good prices before you spend your hard-earned money.

17. Diversify

In time you’ll be able to add certain elements to the business that will help you diversify your revenue stream. Goodrich, for example, added maternity and newborn photos to her list of services. Rather than generating all of her income from children’s shoots alone, she was able to generate more money by branching out.

18. Keep learning

One of the best tips Farren says she can offer prospective photographers is to continue improving their skills. Take classes, watch educational videos, or schedule time to go take pictures of something completely unrelated to your career track—anything to keep your skills sharp.

19. Hire help

In the beginning, you’ll wear all the hats. You’ll set up shoots, take the shots, edit the pictures, and place the orders for prints. When you’re just starting out, you can’t afford t multitask. However, once your business is established, it’s not a bad idea to delegate responsibilities, even if it’s on an as-needed basis.

To do this, Joanne Marino says you need to recognize your strengths and weaknesses. Maybe you’re great at taking pictures but not so hot at editing, or you simply don’t enjoy it. If that’s the case, find a freelancer to help in that area. If you don’t know any freelancers, ask a colleague for suggestions or use freelance sites like Elance to post an ad.

As with any new business, you’ll have ups and downs, but if you’re committed to your craft and work to give each customer a great experience, you’ll earn a solid reputation as a go-to photographer.

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Five Reasons To Shoot Abstract Photos

It's always nice to capture a subject in its purest form, presenting it powerfully. However, shooting an abstract photo can turn an ordinarily drab subject into a work of art.

Merriam-Webster defines abstract as "disassociated from any specific instance, difficult to understand, insufficiently factual, expressing a quality apart from an object, and having only intrinsic form with little or no attempt at pictorial representation or narrative content." Abstract photography is also called conceptual or non-objective photography.

The nice thing about abstract photography is that it's all subjective; there is no right or wrong abstract photo. It tends to bring out the real artistic side of the photographer.

Here are five reasons you may consider shooting abstract photos.

It Makes You Focus on Composition

The basis of most abstract photography is the focus on color, shapes, lines, angles, and other aspects of composition more than ever. Often, composition makes or breaks an abstract photo. Reveal too much, and it's just a poorly composed photo. Centered subjects need to be spot on in the center, lines and curves virtually become the subject, instead of just a part of it. Where you place things is often the most crucial part of an abstract.

When I shoot an abstract, I aim to make the viewer think about what they're seeing. I want them to wonder about what they're seeing. For me, the perfect abstract photo is one that the viewer must look at for a while to figure it out, and once they do, they say, "Oh, I see it!"

However, another photographer may see abstracts as something else, and each has its own artistic flair. Abstracts shine a light on the heart and mind of the artist.

It Makes You Look Beyond the Obvious

When I aim to take an abstract photo, I'm forced to look beyond the obvious subject in front of me. I must study it and decide how I can preset it in a way that may not have been seen before.

It's almost as fun taking the photo as it is watching people figure it out. This is incredibly fun when it's something they have seen before, as in this photo:

When I visited the Gateway Arch in St. Louis, the plain overcast sky inspired me to shoot the previous photo. It's one of my favorite abstracts, as it's obvious once you know what you're seeing. If you've been there, it might be more obvious than if you have never seen it in person.

It Can Teach You Fine Control of Your Equipment

Abstract photos that incorporate Intentional Camera Movement (ICM), macro, lots of bokeh, and leading lines can be quite challenging. These techniques force you to learn your equipment, and those skills are also applied when taking regular photographs. Choosing the right shutter speed is often a matter of trial and error, which makes it even more fun for me. With ICM, you often don't know what you're going to get until you look at the finished photo.

Often, tiny differences in settings or composition can make a huge difference in an abstract image. Take many photos and decide which one you like most later.

It Teaches You Minimalism

Minimalism is one of the most used techniques of good photography. Include just enough to make the image and exclude anything that detracts from the subject.

Abstract photography often lives in the realm of minimalism. One of the best ways to start with abstracts is to minimize your composition. Introduce a level of mystery by making it hard to figure out what or where something is.

It Teaches You New Techniques

Shooting abstract photos teach you to use new techniques that you may usually never use. Those techniques may include shooting through objects, intentional camera movement, extreme lighting conditions, extreme close-ups, or even radical compositional cropping.

Perhaps one of my favorite aspects of abstract photography is that anything goes! It's all about artistic vision. I always believe that learning new skills often improves other skills that we already have. Experiment and don't be afraid of taking shots that might not turn out, sometimes, they turn into abstracts!

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Rules for Photographing People on San Diego Beaches

San Diego's sandy beaches, glistening with silvery mica and with a backdrop of mansions, beach cottages, the Hotel del Coronado, the pier and the blue Pacific, are appealing photo shoot locations. San Diego's La Jolla, with its reefs, cliffs, caves and coves, is another spectacular backdrop. Photographs of people doing things are preferable, and people do a lot here. Depending on the beach, they surf, swim, skim-board, picnic, bicycle, snorkel, explore tide pools, romp at surf's edge with their dogs, sculpt sand castles, fall in love, watch the sunset, play with their families, and of course, sunbathe. The rules and regulations for photographers at San Diego's beaches include county and federal laws.

Fair Use

In the United States, it is not required to ask permission to take a photo of someone in a public place, with some exceptions. U.S. Fair Use Law allows photographers to photograph anyone in plain view from a public area, but the photo may not be used in a way that defames the person in the photograph. And while it's not law, it's always a good idea to ask a parent's permission before photographing a child.

The County of San Diego requires all commercial photographers to obtain a permit before photographing or filming in its parks, including beaches. Federal law requires permission before using a person's photo in a commercial manner if the person can be recognized. Even if the face doesn't show, the person may still be recognized. The same goes for personal property, such as a boat, house or pet. If photographing a dog playing in the surf at San Diego's Dog Beach, and wanting to use the photo for commercial purposes, consent from the owner is necessary, preferably in writing in the form of a model release. And if photographing for commercial reasons at one of San Diego’s beaches, more is needed.

San Diego Permits

The County of San Diego Department of Parks and Recreation requires all commercial photographers to register with the San Diego Film Commission and provide insurance before shooting. A permit is also needed; the amount is determined by the usage of the park or beach. As of publication, it's $50 an hour for still photos. Many of San Diego's beaches open early and close late. At Coronado Central Beach stay as late as you please and photograph people gathering around bonfires. Ocean Beach, where dogs can romp off leash on the north end, is also open 24 hours. Pay an additional fee to shoot photos at a beach outside of its regular hours.

The State of California

If planning a commercial photography or documentary shoot at one of San Diego’s beaches that are in the California State Park system, such as Carlsbad or Torrey Pines, it is also necessary to follow the state’s guidelines, which may include obtaining a permit.

Editorial or Commercial

The main difference between commercial and editorial photography is that commercial photos are used to sell or promote, or are sold; for example, a photo used in advertising copy or a photo that is sold or displayed on something that is sold, such as a mug or T-shirt. Editorial images are used to inform the public, such as the material in newspapers, magazines and books. They are suited to publications rather than sales material. These photos are normally taken in public places and do not invade the personal privacy of the person in the image, since they are taken in public, and the same applies to photos taken for personal use, such a vacation photo album.

If the photographs of people are for a personal collection or editorial use, whether on a San Diego beach or any other public area in the United States, generally it is OK to take photos without permission from the subjects and without registering or obtaining a permit. Unless the candidness of the shot is important, ask anyway, just out of politeness. This can often be done without approaching the subject by merely gesturing and hopefully getting a nod of approval. It's not always possible to ask when for a candid shot or when the person is out on the water, so use some judgment.

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How to Make Your Landscape Photography Better in 3 Simple Steps

I love landscape photography, and I'm assuming that if you're reading this article, you do as well.

It's just so satisfying to capture the beauty of nature in a photo.

Well, if you get a good shot, that is!

Sometimes you just need to give your photos a little bit of love to make them more impactful.

Here's three quick tips that will help you do just that.

Pump Up the Contrast

One of the first things that our eyes are drawn to when looking at a photo is contrast.

That is, contrast of light and contrast of color.

So, if your landscape photo looks a little blah, find ways to incorporate either more highlights and shadows, more color contrast, or both.

In the image above, you see a decent shot, but there's not a ton of contrast. Instead, the orange tones dominate the scene.

However, in this example, there's much more contrast with more blue tones on the left side of the shot to balance out the orange tones on the right.

Compared to the first image, this one has much more visual appeal, thanks in large part to the improved contrast.

Editor's Tip: If contrast doesn't occur naturally in the shot, you can add highlights and shadows, as well as contrasting colors to the image in post-processing.

Find out how to add life to your landscapes

Use Filters to Your Advantage

Using lens filters might be a little old school, but they work like a charm.

For landscape photographers, the first filter you should buy and start using is a polarizer.

These filters give you all sorts of advantages that help you create more dynamic images.

For starters, polarizers reduce atmospheric haze. That comes in handy when the background elements of the shot (like the mountains in the image above) seem a little dull and lifeless.

Likewise, top-notch polarizing filters like the Formatt-Hitech Circular Polarizer shown above, give your images incredible contrast and color fidelity.

As noted earlier, contrast is a prime feature of great photos, so using a polarizer can help you achieve a much better look. And since these filters are so well constructed, you get the results you want without flare, ghosting or other aberrations.

What's more, polarizing filters add pop to the sky because they darken the blue tones of the atmosphere and brighten up clouds to make them appear whiter.

Again, that's another way to add contrast to your shots to give them more punch.

And if that's not enough, polarizing filters also reduce glare off of non-metallic surfaces, like water.

So, if you're photographing a landscape that includes a river, lake or other body of water, a polarizer can help bring out the color of the water without any sun glare.

What's not to like about that?!

Learn More:

Get the Specs and Pricing on Formatt-Hitech Polarizing Filters

Every Landscape Photographer Needs These Filters

Pare It Down

A common enemy of landscape photos is clutter.

That's because when we look at a landscape with our own two eyes, our brains automatically pick out the most important parts.

Our cameras don't do that. Instead, they record everything they see.

To improve your compositions, look for elements that grab your attention, and make them the focus of the shot, like the interesting rock formation in the image above.

Alternatively, you can use negative space to your advantage to make your compositions more simple.

In the image above, there's a lot going on with the flowers, the tree trunk, the cliffs, and the ocean.

But by framing all of those details to the left side of the shot, thereby leaving a lot of real estate in the image filled with blank sky and ocean, the photo doesn't feel as cluttered as it otherwise would.

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Fine Art Photography Can Transform Your Commercial Space

Fine art photography creates an engaging atmosphere in commercial spaces that is enjoyable for both employees and clients. While some people believe that lean workspaces stripped of any artwork make for a distraction-free zone, research studies suggest otherwise. A series of fine art installations in the office can act as energy boosters that add a level of interaction and creativity. On the other hand, bland and sterile corporate spaces can lead to workers with defeatist attitudes and an ongoing sense of numbness. Adding a touch of fine art in the office helps you battle mundane reality. And create a haven for employees and clientele alike.

Benefits of Fine Art Photography In Commercial Spaces

Gracing your corporate walls with fine art pieces is, beyond a doubt, a beautiful interior design element, but it can also bring about many attractive benefits.

Fine Art Photography That Reflects Your Brand

Art pieces will not only beautify and enrich your workplace but can also act as an authentic representation of your brand. By displaying artwork that aligns with your identity as a business, you can convey your message and values into any space with ease and refinement. Fine art photography can be implemented in any work setting. Whether it is a corporate office, a hotel, or an institution.

Fine Art Has Psychological Perks

Business settings that invest in fine art photography add a sense of creative energy into the workplace. Employees feel the benefits of artwork in the shape of increased efficiency, a boost in morale, and less anxiety and stress. Research studies conducted by Dr. Craig Knight, an expert in psychology in the workspace, confirms the beneficial effect of art in the office. The results reflect that a space enriched with art increases productivity by 15% in workers. Recent studies also suggest that displaying scenic nature photography in a work environment helps ease anxiety and promotes mental health.

Consider Fine Art Photography An Investment In Your Business

Photography is an art form, before all else, but it is also a good business move. Along with commercial photography, fine art photography is a worthwhile business investment. Commissioning fine art photographs is a lucrative business venture since the value of these pieces increases in the long run. Unlike volatile financial investments and products, fine art is a stable backup and a great way to diversify your assets. Investing in art also means investing in your workers, your clients, and your community. By supporting artists in your community, you also benefit from a business standpoint.

Art As An Employee-Retention Strategy.

Fine art injects a level of dynamic engagement into an otherwise dull area. Starting a working day in a creative space that induces fresh energy will create a more pleasant environment for employees. More and more companies make the strategic decision to incorporate art into commercial spaces to make them more enjoyable for visitors and workers.

California Photography

Fine art photography is an all-around advantageous art form for any commercial space. With fine art pieces, you can reflect your brand, add a sense of wellness in your workspace, and make a sound business decision. Due to its many advantages, art is a vital interior design piece in any commercial property.

Studio Serra Photography is an award-winning California photography studio based in San Diego. We offer our clients an eclectic gallery of fine art photography. Captured and carefully curated by Scott Murphy each photo inspires a sense of wonder and can transform a space into a natural oasis of wall art. Stunning photos are a passion for us, and every photo has an intention and tells a unique story. View our collection of original fine art nautical, beach, landscape, and California scenic photography at https://studioserraphotography.com/portfolio.

To find the perfect fine art photography for your space, contact Studio Serra Photography today.

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Nature Photography: Good or Bad for the Environment?

It's a wonderful way to share the beauty and wonder of the natural world with others, but not if landscapes are trampled and wildlife is frightened.

Nature photography is a wonderful way to share the beauty and wonder of the natural world with others who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the art is raising awareness about and generating empathy for special landscapes and species. But too much love can be a bad thing if landscapes are trampled and wildlife is frightened—all in the name of leaving only footprints. The use of photography as a conservation tool dates back as far as photography itself. William Henry Jackson’s photos from his travels with the Hayden Expedition of the 1860s to survey the American West helped convince Congress to create Yellowstone National Park in 1872—and as such played a role in the birth of the worldwide movement to set aside special places as national parks. Ansel Adams carried this torch forward a century later; opening up millions of viewers’ eyes to the splendor of many an iconic western landscape. And more recently wildlife photographers have gotten up close and personal to wild animals large and small so the rest of us can appreciate their beauty out of harm’s way. But some say there is a dark side to all this exposure of the wild and the natural. In a provocative essay in the Fall 1997 issue of DoubleTake magazine, activist and author Bill McKibben argued that the world has enough wildlife photography and that continuing to invade the lives of animal subjects—given the vast oversupply of images already available—is counterproductive to the goals of preserving biodiversity. He also decried the idealized view of the world that wildlife photography portrays. “How can there really be a shortage of whooping cranes when you’ve seen a thousand images of them—seen ten times more images than there are actually whooping cranes left in the wild?” he asked. Most wildlife photographers bristle at McKibben’s stance. “The real problem with wildlife photography is not that there is too much of it but that photographers…are failing to reflect natural diversity,” argues UK-based nature photographer Niall Benvie. “Far from inhibiting productivity, it needs to be expanded greatly, telling the story of species and locations unknown to readers and viewers.” But today when the average vacationer with a $500 high resolution digital SLR may just want to capture his own version of that iconic photo he has seen so many times in magazines, it might be folly to hope people won’t love a spot or a species to death. In the U.S., some national parks have begun to limit visitorship at specific photo-friendly spots to make sure that trails don’t get inadvertently widened and native vegetation trampled. And a recent news story about the Kani people of southern India cutting trees and using bright lights and scare tactics to capture wild slender lorises—charismatic wide-eyed primates endemic to the region yet endangered and highly elusive—for “managed” photo shoots with well-heeled visiting photographers only further illustrates how invasive wildlife photography can get. What the nature photographers of the world, amateurs and pros alike, can agree on is that they want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to “get the shot” is all that’s needed to keep nature photography from becoming a scourge on the environment.

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10 Tips for Capturing Breathtaking Fine Art Landscape Photography

When we’re taking landscape photography, we get inspired by light, land or a fleeting moment. But what makes fine art landscape photography unique isn’t found in the scenery. Artistic photography is found within.

To me, fine art landscape photography is the quintessential way of showing who you are as a photographer.

What Is Fine Art Photography?

Teaching you what fine art landscape photography is and how you can take better pictures with that knowledge is important to me. I simply love to see new and interesting photography with a personal flair.

In this article, I invite you to embrace photography as a form of art. Instead of specific instructions on how to achieve a certain look, these 10 tips will show you how to be a better artist through fine art photography.

Guy Tal summarizes fine art brilliantly by saying that your photos should be about things, not of things.

Fine art landscape photography is the way you document the land. It’s about the connection between you as a photographer and the landscape you’re in. Therefore, your vision as an artist is fundamental to creating original photos.  It is important to note that creating art is a cognitive process.

10. Pre-visualization

Galen Rowell was one of the proponents of pre-visualizing an image before pressing the shutter. Apart from a vague, reverse image on the ground glass, this is the only way to know how your image will look with film photography. In the digital age, pre-visualization is very under-appreciated. We tend to look at our images after we shoot them and adjust accordingly. The goal of fine art landscape photography is to have an idea of what your images will look like in the end.

Ask yourself questions like: “What do I want to show in this image” and “How does this composition make me feel?” Then, dial in the camera settings that will add to your answers.

If you feel gloomy or sad, you could help the image by making it a bit darker. Add some negative exposure compensation in your camera’s Aperture Priority mode or shorten the shutter speed in Manual mode.

Creating darker images makes the viewer tap into darker emotions as well.

Colour and Processing

Another great tool for putting emotion in your fine art landscape photography is colour. Control the overall colour of the image with the white balance setting of your camera, and don’t be afraid of a bit of colour cast.

Photos don’t always have to be neutral. Bright and warm colours can really add energy and an overall positive feeling.

Keep in mind that pictures that warm colours demand attention, whereas cooler tones are easier on the brain.

Also keep post-processing in mind before you even press the shutter. Look through the viewfinder and think out loud about what you want to do to an image.

Do you want to darken the sky or lift the shadows? Are there distracting elements you would rather not have, but cannot omit by slightly altering the composition?

9. Story Telling

Fine art photography should be about things. A great tool for storytelling is to show relationships within your art. A small sapling tree in the foreground set against a dead tree in the background could tell a story.

My thoughts run to renewal, rebirth or the fact that nature will conquer all. It doesn’t always have to be a complex or far-fetched story. I can imagine that it is quite difficult to tell stories when you don’t have a background in either fine arts or photography. Start simple with these three tips:

A longer shutter speed can suggest movement in grass, waves and clouds.

A larger aperture can suggest depth because of the reduced depth-of-field.

A motionless subject against a rushing background can evoke chaos and solitude.

Once you get the hang of those, you could try your hand at telling a story through multiple landscape photographs. Show the development of a storm, a change of seasons, the same landscape with or without snow or what a forest fire has done to your local woodland.

8. Show the Unexpected

Oftentimes I wonder how the greatest photographers among us keep coming up with interesting subjects and compositions within fine art photography.

Originality is often closer than you think. Pull up a map of your local area. Look for a spot that’s interesting geographically. Preferably a spot with some elevation differences, a water feature or a small woodland.

Topographical maps help me when I’m entering unfamiliar territory. A great online tool that you can use is OpenTopoMap.

Venture to places where others haven’t been, or show subjects that other photographers have not. Original artwork can surprise and delight us because it activates a part of the brain that is specifically linked to novelty.

According to a 2006 study led by neurobiologists Bunzeck and Düzel, a central part of the brain called SN/VTA responds heavily to novel stimuli. The study shows that we tend to get more excited by unfamiliar beauty than beautiful pictures of well-known subjects.

It’s no wonder that it’s hard to win a landscape photography contest with the millionth image of Kirkjufell.

7. Practice With Telephoto Lenses

Because you’re zooming in on particular areas in an otherwise wide-open space, you’re essentially deciding what you want to show the viewer. Telephoto lenses are a great tool to help you look at the landscape differently. Patterns and shapes start to come alive when you have a more intimate view of the landscape.

Imagine having your telephoto lens attached and that your camera is on a tripod, pointing down towards a bed of leaves.

One trick that I suggest you try, is to very slightly move the camera around using a ball-head on your tripod. Even the tiniest adjustment in pan, tilt or rotation will have significant results in your composition.

Practicing with a telelens will teach you to pay close attention to composition and any distracting elements along the edges of a photograph.

But you don’t always have to be close to your subject to create fine-art landscape images.

Among my favourite subjects are those misty mountain shots. With a focal length of 300 mm or more, I love the way crevices and corries fill the frame. And with some birds, soft morning light and a flurry of clouds along the summit, it’s a recipe for great fine-art photography.

6. Never Be Afraid of Post-Processing Landscapes

I have a strong opinion that post-processing is an inextricable part of fine-art photography. Don’t think of post-processing like trickery or faking it. Treat post-processing like a tool for realizing your vision and amazing things will come from your photography.

If you struggle with the right amount of a particular effect, it’s a good idea to pay close attention to the work of photographers you admire. Good post-processing is where taste and skill join together in harmony.

When you start out with photography, editing your images can be daunting. There are many settings, sliders and effects that you can choose from. I always start by asking myself: “What was I thinking about when I took this image?” and take it from there.

One of the most powerful tools that you can use are curves.

To get your feet wet with curves, experiment with two points along the curve. The two points that are already there are called the White Point (top right) and the Black Point (bottom left).

Those control how much white or black is allowed in the image. Right in the centre there’s the Midpoint. Click in the centre of the curve and drag it down to darken the mid-tones of the image.

Adding two points along the line, with the first one darkening the image and the second one brightening it, will add contrast to your shot and deepen the colours.

While this S-shaped curve is by far the most utilized curve in landscape photography, I generally stay away from it. Instead, I like to be a bit more creative and add multiple points along the curve to bring out detail where it’s needed.

5. Seascapes: Practice With Nothing Before Photographing Something

One subject that’s fantastic for training the laws of composition is the sea. And you don’t need fancy filters to start out with seascape photography. A sturdy tripod along with the photography equipment you already have will do.

It’s a good idea to wait for the sunset before shooting seascapes. Blue hour is the best time of day to learn to drag your shutter speed.

The natural low-light conditions at twilight also add to the atmosphere of the shot and you can teach yourself long exposure photography on a budget.

With long exposure seascape photography, pay close attention to the lines in the water, along with any more static objects such as the position of the horizon in the frame, rocks and seaweed.

It’s essential to practice this with as little subject matter as possible. Eliminate everything that’s not needed. A single, small stone might be enough to create a fine art photograph with impact.

4. Black and White Landscape Photography: It’s all About Luminosity

One overlooked sub genre of the modern day landscape photographer is monochrome or black and white landscape photography.

Because social media ratings seem to be more important than meaningful images these days, blazing sunsets are all the rage at the moment.

Remember that all photography started without colour. In fact, world-renowned landscape photographers kept shooting in black and white, even as colour photography started to become more readily available.

Minor White, Philip Hyde and Ansel Adams were all keen users of black and white film. And if you browse around their archives, certain things become very apparent in their images.

Using Gestalt Principles

Shape and form – With colour gone, it’s the shapes that keep us looking. Diagonals are suggestive of speed, while curves and wavy lines make us look longer at that spot.

Contrast – High contrast suggests harsh lighting and little distance between viewer and subject, whereas low contrast suggests that the subject is far away from us.

Proximity – Two subjects that are close suggest a relation to each other.

Similarity – That which is similar to something we know evokes a sense of recognition and association within us, aside from two subjects that look alike to show their connection.

Symmetry – A patch of snow on the ground and a cloud in the sky that share their inverse shape, strengthens both their bond and their separation.

Closure – One line that seemingly continues, can tie two separate subjects together. A dead tree that points at the edge of a mountain is a good example of this.

Within the realm of post-processing, you can make targeted adjustments based on how bright or how dark an image is. Tony Kuyper’s Actions are among the most utilized in landscape photography today.

With them, selecting the shadows without the darkest of blacks or any highlights is as simple as the press of a button.

With those selections, you could do all sorts of editing wizardry. Making shadows brighter or darker is just the tip of the iceberg.

3. Use Negative Space to Create Visual Breathing Room

Negative space will strengthen the positive space. In other words: empty parts of the photography will emphasise your subject.

Try it yourself by allowing a big part of your photo for the sky, or experiment with placing your subject further to the left or right.

Notice that the emptier the photo, the more abstract it becomes. You could potentially shoot an image of visual nothingness and make a single subject stand out.

A tree among endless snow is a bit of a tried and tested usage, but the subjects are endless.

2. Don’t Neglect the Small

One of the things that I’ve learned from personal experience is that most of us are on the hunt for those trophy shots. But even on your way to those once-in-a-lifetime locations, there are countless photographic opportunities that await.

The icons in landscape photography are those where entire busloads of expensive camera equipment get unloaded multiple times a day. Every day. When I visit these locations with a group, I instruct them to pay attention to things along the way that can offset your photography against a multitude of photos with exactly the same composition.

Whether it be a lone flower, a strange looking ice formation or even another photographer who is composing the usual shot. Such images invoke both recognition and novelty and are often quite powerful.

Originality is often closer than you think; even at these well photographed areas. So next time you’re at Horseshoe Bend in Arizona or Skógafoss in Iceland, try to look for foreground subject matter that’s different or temporary.

Composing the temporary versus the timeless is another great tool in your arsenal of photographic knowledge.

A couple of inspirational photographers of intimate landscapes are Bruce Omori, Alex Noriega and Guy Tal. Have a look around on their websites for photography inspiration on patterns in the landscape.

1. Return

For many, photography is a form of collection. However, building a catalog of visual memories isn’t what fine art photography is about. It is very much about the chase of perfection. Simon Baxter teaches about persisting in his insightful landscape photography videos.

Consider returning to the same subject in different conditions when the light or the season aren’t fitting the subject. If you’re out scouting with your camera, it takes both an intrinsic drive to come back later when the light is better. Even when it means getting up at 4 AM.

It’s not a bad idea to shoot a quick photo of a composition you have in mind, but don’t spend too much time doing so. Baxter regularly uses his phone to do these quick and dirty snapshots.

Conclusion

We’ve covered varying subjects that hopefully contribute to making you a more keen observer and a better photographer. But before I leave you to put all this in practice, I’ll take a quick moment to summarise the most important points.

Ask yourself questions. Out loud if you have to. Opening up an internal dialogue about your photos will make you critical and observant.

Pay attention to the smaller things around you. If you’ve found the mountain you want to photograph, think about how you want proceed and what foreground subject would best match your story.

Less really is more. Practice with negative space and gradually see that your images will become more powerful.

Practice with composition in black and white, because splitting brightness and color can make the rules of composition more easily digestible.

Don’t be afraid. Experiment, go to places where no-one has and spend time to learn the ropes of post-processing your images. And don’t be afraid to show as little as possible.

[studioserra]

Difference Between Commercial & Advertising Photography

Although some people use them interchangeably, commercial photography and advertising photography are quite different. As a business owner, it’s important for you to understand these specialties because it may come into play when you decide to use print and online advertising as one component of your marketing strategy. Commercial photography and advertising photography are both used for promotional purposes rather than preserving memory as in fine art photography and photojournalism. The purpose and intent of the crafts are different, however, as are the tools professionals in each style use to accomplish their goals.

Commercial Photography Elements

Commercial photographers take photos of buildings, models, merchandise, artifacts and landscapes that are used for promotional purposes in books, reports, advertisements, and catalogs, for example. A commercial photo is typically used in the retail and wholesale sectors and in sales materials or for promotional efforts. In commercial photography, the entire photoshoot is devoted to the product being photographed.

Think about a stock photo that you often see on the Internet when you perform an image search for a specific product. That is a perfect example of a commercial photo because it’s all about showcasing the essence of that product in the best way possible.

Advertising Photography Elements

The basic elements of advertising photography are to capture a mood, emotion or feeling that a product can elicit in a viewer. As the name implies, advertising photographers are concerned with selling or appealing to instincts within a viewer that would create a need to buy. Whether the photography is framed in such a way as to make it seem sexy, beautiful or trendy, the overall effect is of inducement to take an action, namely, buying. Advertising photographers approach their work as artists whose job is to tell a captivating story through the use of stylized images, colors, lighting, and framing.

Commercial Photography Vs Advertising Photography: Intent

One of the major differences between a commercial photo and an advertising photo is the intent. Commercial photography’s intent is to capture the essence of a product in the best way possible. In contrast, the intent of advertising photography is to persuade or convince the viewer to want that product in his home.

Commercial Photography Vs Advertising Photography: Style

Another difference is that commercial photography is often staider in its framing so that nothing detracts the viewer’s eye from the product. As a result, the lighting, styling, and background generally are somewhat neutral. In advertising photography, however, the framing is often more bold, inventive and stylized because it’s not just about viewers seeing the product, it’s about generating specific emotions.

That’s why techniques are also different in each of these photographic styles. For example, a commercial photographer wouldn’t want to use dazzling light packages in a shoot because it would overwhelm the product. That’s not the case for advertising photographers, who have greater creative freedom to interpret how products, services, lifestyles, and ideas can be presented photographically. Bold colors, multi-faceted lighting, and sharp contrasts between shadow and light are all tools in the advertising photographer’s broad arsenal.

Commercial Photography Vs Advertising Photography:  End User

The end user is also different in the commercial photography industry versus the advertising photography industry. In general, commercial photographers take photos that are used in the retail business or strictly for promotional purposes. However, companies that are either seeking to sell products or to market them to a new audience usually hire advertising photographers.

For example, if you own a comic book store and you want to showcase your new artist’s display room, you would hire a commercial photographer to promote this feature. On the other hand, if you just won an auction to buy a rare issue of a popular comic book, you would hire an advertising photographer to take photos of the issue to entice viewers to come and buy it.

[studioserra]

10 Great Photography Locations in San Diego

Learn how to avoid the typical "vanilla" tourist snapshots and instead capture stunning images—taken from the best vantage points, at the best time of day. Whether you're an avid shutterbug or just a weekend warrior, a photography tour is a great way to see the sights and snap images to last a lifetime.

Old Town

Populated with photogenic spots everywhere you turn—from historical adobe architecture, to people dressed in period dress (1822-1872), to reenacted crafts of the era (like blacksmithing, candle making, etc.), Old Town is a feast of wonderful photo ops. Whether tortillerias, festive decorations, beautiful landscaping, colorful dancers, or photographically fun specialty gift shops, Old Town is a nonstop delight for your eyes and your camera!

Balboa Park

You could keep busy for hours just photographing its nearly twenty varied, scenic gardens (including thousands of species of exotic vegetation). But add to that exquisite Colonial Mediterranean architecture and beautiful tile fountains and you could easily spend a full day here, and never enter one museum or the zoo! Lose yourself in this tranquil cultural oasis in the heart of the city and make sure to bring plenty of memory cards or film.

Cabrillo National Monument

Dramatic vistas, tide pools and its two iconic lighthouses are only part of the picture which makes this captivating and stunning location the 8th most visited National Monument in the U.S., as well as a top San Diego photographic hotspot.

The Gaslamp Quarter

San Diego's historic Gaslamp Quarter features beautiful Victorian architecture to capture during the day, or stick around after dark to shoot the epicenter of San Diego nightlife. Day or night, you surely will want to bring your camera to this very photogenic neighborhood.

La Jolla

From seascapes to sea lions to seagulls, grab your camera and head to sensational seaside La Jolla. Translated "The Jewel", La Jolla delivers on its name with spectacular cliffs, cormorants and crashing waves. You certainly won't run out of scenic things to photograph in postcard picture-perfect La Jolla.

Mission San Diego de Alcala

Along with its iconic bell tower, this historically important building complex has some hidden treasures inside—don't miss its enchanting courtyard and beautiful chapels. You could easily spend three hours here taking photos of the oldest of the 21 California Missions.

San Diego's World-Class Attractions

It goes without saying that San Diego has some of the best show-stopping animal photography in America! Whether swimming, jumping, swinging or flying, there are endless animal photo possibilities in all three of these world-class attractions. Don't forget to check out the Photo Safari Caravan at the San Diego Zoo Safari Park—a top-notch photo experience for up-close encounters with animals in the wild.

The Embarcadero

It's never a dull moment down on the embarcadero promenade walkway—whether bobbing boats, birds or bustling boardwalk activity. On the southern area near Seaport Village or behind the Convention Center, snap away at colorful boats with the harbor or Coronado as your backdrop. And, near the majestic Star of India, sunset produces pretty reflections on the water with the lights of the Pt. Loma Peninsula in the distance.

Chicano Park

You'll be challenged to find anything more colorful than Chicano Park's historic murals. Not only are they the largest collection of outdoor murals in the country that are painted by cutting edge artists, but their unique location on the pillars of the Coronado Bridge make them a geometric delight for photos.

Neighborhood Signs

Hunt around San Diego's varied neighborhoods and discover the charm of each one through its signature landmark sign. With no two signs the same, you will have a fun time framing each one to highlight the individual feel of that neighborhood.

A photography tour is a fun way to see the city.  San Diego Photography Tours has professional photographer guides who have spent years in the field on assignment capturing sites all over the world—and countless hours scouting the best photogenic locations in San Diego, both well known icons and secret spots. They offer private walking or shuttled driving tours ranging from four hours to a full day. During their very hands-on tours, they help you to take better quality pictures and make sure you go home with great photos of San Diego.

[studioserra]

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Guide: How to Start a Successful Photography Business

This article is part of our Photography Business Startup Guide—a curated list of articles to help you plan, start, and grow your photography business!

If you have some creative photography chops, you might want to open your own business. You’re not alone in wanting to turn your creative outlet into a money-making venture. Photography is a popular profession and hobby right now—and that’s the problem. As camera gear has become more affordable and consumer-friendly, and almost every smartphone now features a great camera, everyone’s a photographer.

But, that doesn’t mean you should toss your dreams of owning a photography business aside. It just means you may have to work a little harder to set yourself apart from the flock of amateur shooters.

To help you find your photography foothold, we asked three professional photographers who started their own businesses to share their tips for success.

The planning stages

Before you buy a camera and create a website, you’ll want to do a little prep work.

1. Write a photography business plan

For starters, wedding and event photographer Peggy Farren says you need a business plan. Any serious entrepreneur will tell you that you need to organize your thoughts on paper. This detailed document serves as your roadmap, describing what your business is and how it will be profitable. It breaks down things like cash flow, expenses, ownership, and competition.

“Photography is one of the most competitive businesses out there,” Farren says. “You need to be a very good business person to make a decent living. You’ll get there much more quickly if you start out right.”

Creating a business plan may seem like a daunting task, but it doesn’t have to be if you have the right tools. Check out this free, downloadable sample photography business plan.

2. Assess your photography business startup costs

As part of your business planning process, you’ll need to assess your startup costs. What are the essentials that you’ll need before you can really launch your business?

Camera equipment alone can cost upwards of $10,000, Farren says. You’ll also need business licenses, insurance, a website, and accounting software like QuickBooks or Xero.

What about a studio?

Do you plan to start with a dedicated studio space or work out of your home? If you need office space, you’ll need to investigate commercial rental properties and figure that monthly cost, along with the cost of utilities, into your financial plan.

3. Secure startup funds

If you have enough money in your bank account to start your business you may not need to borrow money, but many entrepreneurs need assistance. Many people who are starting a business for the first time end up asking family or friends for help, or keeping their day job until their business is self-sustaining.

Whether you ask friends and family for financial assistance or apply for a bank loan, you’ll need a business plan in place that lays out how you’ll spend the funds and when or how you’ll pay your lenders back.

4. Figure out your personal finances

If you’re just starting out, realize that your business probably isn’t going to be profitable overnight. It took 18 months for Farren’s business to break even and make enough money to pay the bills. Like Farren, you might have to work another job to make ends meet until your business is generating enough money.

5. Get professional experience

You’ll need to show your prospective clients what you can do, and working alongside a professional photographer is a great way to get some experience and start to build a portfolio. Farren worked as a photographer’s assistant while starting her own business.

Equally important is using that experience to put together a photography portfolio that demonstrates your skill. Consider your audience and build the portfolio around what they want to see. Keep it updated, so new potential clients can see current and relevant work.

6. Buy camera gear

When it comes to camera gear, Farren says you’ll need two cameras, two high-quality lenses, two flashes, and Photoshop and Lightroom to edit the images. Why two cameras? You need backup equipment. Even new equipment breaks, Farren says.

If you buy used gear, you can get everything for about $5,000, but Farren says $10,000 is more realistic. Of course, you can always upgrade gear as you go.

7. Come up with a pricing plan

How much will you charge for your services? It’s a tough question for every photographer, especially when you’re just starting out. Figure out what one hour of your time is worth. Let’s say your time is worth $50/hour.

For every hour you spend shooting, you’ll spend about three hours editing. You need to factor that into your pricing. So, in this equation, you would charge $200 for a one-hour photo session. Of course, your pricing structure is your own, this is just a way to come up with a starting point.

8. Invest in a killer website

Once you’ve come up with a name for your photography business, you’ll need a website. There are free website templates out there, but your website is like your storefront. You want it to be impressive, so think about whether it’s better to have your website professionally created.

Your website should, of course, showcase your work. That’s what your clients will want to see. Keep your site organized by breaking your galleries up by category. Include a picture of yourself and a page that describes your background and experience.

Contact information is also a must. It’s a good idea to list at least some of your prices. This helps manage customer expectations and keeps people from trying to negotiate for a lower price.

Ok, you’ve got everything in place and you’re ready to start shooting pictures. Now, how do you get customers?

9. Create your own brand

Jason and JoAnne Marino have a unique brand for their photography business.

You need to set yourself apart from others, according to husband and wife photography duo Jason and Joanne Marino. The pair own Imagine Photography, a company that attracts couples who are interested in unique wedding pictures, not the conventional altar photos.

“You can’t be everything to everybody or you’ll fail miserably,” Jason Marino says. “To attract customers you must carve out a brand and style.”

Start by identifying your target market. Do you prefer to do maternity shots? Newborns? Senior portraits for high schoolers?

Figure out what makes you unique as a photographer and use it to brand your business.

10. Make time to network

As a photographer and a new business owner, you need to network your heart out, Marino says.

“You can be the greatest photographer in the world, but unless people know about you, it won’t do you any good,” he says. “Join groups, forums, clubs, collectives, whatever you can. Make sure these people know about you and respect you, and you’ll get referrals.”

11. Be a people person

As a photographer, you don’t just need mad composition skills, you need people skills too, Marino says. You want to make sure the client has a great experience. Not only will your client trust you, which results in great shots, but a good experience also means your client will refer you to others.

If appropriate, meet with your clients before the shoot. Wedding photographers set up engagement photo sessions as a way to get to know their clients before the big day. If you’re not offering wedding photography, make sure you sit down and talk with the client before you start snapping pictures.

Make a little small talk and chat about expectations. Remember, you’re not just selling great pictures—you’re selling an experience.

12. Have a friends and family rule

Your friends and family will probably be some of your first customers, which is great. You’ll be extremely grateful for the opportunity and probably feel inclined to give them a discount. There’s nothing wrong with that, but remember, you’re trying to make a living. You should come up with a standard friends and family plan and stick to it.

13. Use social media to promote yourself

Social media is a great promotion tool, but it’s best to start out with one or two sites and use them consistently. Facebook might be a good option, but you might want to lean towards one of the more visual social media channels like Instagram. One of the most important pieces of keeping whatever channel you choose to use active and updated.

Grow your business

Now that you’ve got the wheels in motion, let’s talk about how to pick up the pace.

14. Up your marketing game

Jane Goodrich, a New York-based children’s photographer, says one of the best ways to grow your business is to invest more in marketing.

Google ads

Goodrich swears by Google ads. She uses some of her marketing budget to buy keywords that generate more website traffic.

Team up with charities

Farren uses other unique techniques to grow her business. For instance, she teams up with charities that run high-end silent auctions.

“Not only are you getting your name in front of wealthy people, but in most cases, the clients will purchase much more than the free prints that come with the package they bought at the auction,” she says.

Generate an email list and add to it constantly

Through the years, Farren has also generated an impressive email list. She uses that list to send clients a monthly newsletter, which she says is her best marketing tool. She credits a lot of her repeat business to the newsletter as it keeps her business top of mind to her customers.

Whenever you’re at an event, set out an email sign-up form for people to opt into your newsletters.

Maintain a blog

A blog is a great way to establish authority in your field. It’s an open platform to showcase your talent, tips, and opinions. Write about your experiences, your work process, your equipment, how you plan the shots, etc. The topics are endless!

15. Make a savings plan and pay attention to cash flow

It takes time to draw profits from your business, and it takes even longer to put a few bucks in the savings account. But saving money should be a priority as you grow your business. No matter what kind of photography you do, you will sooner or later hit a slow month, Goodrich says. Save money when you’re busy so the lean months are easier to handle. This is about paying attention to your cash flow, or when cash comes into and out of your business.

On that note, make your payment terms clear. Many photographers will require a deposit upfront and the balance before releasing photos to the client. Whatever your payment terms, make sure your clients know what they are.

If you do invoice clients after you’ve already done a shoot, make sure you invoice immediately and that you’ve clearly articulated when payment is due. Waiting for clients to pay you can create a cash flow problem, even if you have plenty of business, and on paper, your business is bringing in lots of revenue. Until you have cash in hand, you can’t pay your own bills.

16. Reinvest in the business

Once you have at least three months’ worth of income socked away, then you can start thinking about reinvesting it. From new lenses to better editing software, new pieces of technology can improve your product. To make wise decisions, make a list of the items you want. Prioritize the list and shop around for good prices before you spend your hard-earned money.

17. Diversify

In time you’ll be able to add certain elements to the business that will help you diversify your revenue stream. Goodrich, for example, added maternity and newborn photos to her list of services. Rather than generating all of her income from children’s shoots alone, she was able to generate more money by branching out.

18. Keep learning

One of the best tips Farren says she can offer prospective photographers is to continue improving their skills. Take classes, watch educational videos, or schedule time to go take pictures of something completely unrelated to your career track—anything to keep your skills sharp.

19. Hire help

In the beginning, you’ll wear all the hats. You’ll set up shoots, take the shots, edit the pictures, and place the orders for prints. When you’re just starting out, you can’t afford t multitask. However, once your business is established, it’s not a bad idea to delegate responsibilities, even if it’s on an as-needed basis.

To do this, Joanne Marino says you need to recognize your strengths and weaknesses. Maybe you’re great at taking pictures but not so hot at editing, or you simply don’t enjoy it. If that’s the case, find a freelancer to help in that area. If you don’t know any freelancers, ask a colleague for suggestions or use freelance sites like Elance to post an ad.

As with any new business, you’ll have ups and downs, but if you’re committed to your craft and work to give each customer a great experience, you’ll earn a solid reputation as a go-to photographer.

[studioserra]

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