2. One-Hour Photographer
! ! ! ! By Rosh Sillars
Author: Rosh Sillars
Editor: Edith Sillars
Cover Design: Jeffrey Huysentruyt
The Rosh Group, Inc. : Publishing - Copyright 2012

3. To my daughters, Kelly and Ava
Acknowledgements:
This book, although short, took a year and a half to write. I have not been
working on it solidly during that period of time, but it has always been on my
mind. I would poke at it for a few weeks and put it down for a few months. Finally,
I decided I wouldn’t let myself write another book before this concept was
complete.
Thank you to my wife, Shirley, for her continuing support, my parents, my friends,
the Synectics Media team, April Pochmara, and my podcast partners Greg
Evans, Dean LaDouceur and Geoff McMahen. I would have never written this
book without the inspiration from my social media community.
Thank you to all of my friends and acquaintances online and off who have
knowingly or unknowingly sparked ideas that I have shared in this book. Jack
Hollingsworth, Lindsay Adler, Jeff White, Trevor Current, Joseph Christina, Lan
Bui, Jim Goldstein, Richard Kelly, Blake Discher, Selina Maitreya, Scott Bourne,
Penelope Ashmore, Seth Godin and Mitch Joel.
About the author:
Rosh Sillars is a photographer based in Detroit, Michigan. He also serves as a
marketing consultant for the Digital Marketing firm, Synectics Media.
He earned his BFA in photography from the College of Creative Studies. Rosh
teaches digital photography and photojournalism at two universities. He podcasts
and blogs about photography, digital marketing and social media at
www.roshsillars.com. He also travels the world speaking and sharing ideas
found in this e-book.

4. One-Hour Photographer
! ! ! ! Table of Contents
Introduction
Chapter One: Your Vision
Chapter Two: The Basics
Chapter Three: Composition
Chapter Four: Photographing People
Chapter Five: Equipment
Chapter Six: Lighting
Chapter Seven: Post-Production
Chapter Eight: Business
Chapter Nine: Marketing
Chapter Ten: Social Media
Chapter Eleven: Search Engine Optimization
Chapter Twelve: The Combination Code
Chapter Thirteen: Presentation
Chapter Fourteen: The Future
Assignments

5. Introduction
How would you like to have all the basic information you need to become a
professional photographer and own a successful photography business?
There are few things better than doing what you love to do for a living. Enjoying
the creative craft of photography as a career is certainly one of them.
The One-Hour Photographer book supplies you with a solid foundation of
information and the resources you need to develop a successful photography
career.
Why is this book called One-Hour Photographer?
The book is designed to offer the basic foundation of information you need for a
successful photography business in one hour of reading time. You will have the
tools you need to step forward confidently and begin developing your dream
photography career.
Will you learn everything there is to know about photography in an hour? No.
Photography is a continually changing and evolving craft. Mastery takes a
lifetime of continual education.
No matter what your skill level is as a photographer, the information in this book
will be life and career changing. Technology has made the craft of photography
much easier to enter. Unfortunately, this makes the industry one in which it is
much harder to find success, and to develop and maintain a career.
This book is your answer.
One-Hour Photographer explores how to find vision, the basics, equipment,
creating images, lighting, the overall industry, presentation, best practices,
business, marketing and much more.
You will notice one thing missing from this book—photographs, charts and
illustrations. I sincerely plan to offer a more comprehensive version of One-Hour
Photographer. I wish to offer this basic text-only version for free or at a low cost
via PDF, Kindle and iBook editions.
I ask only one thing of you. Share this e-book. Post the information and link
(below) in forums, in social media and on your Web site. If enough
photographers download the book and find the information useful, I hope to
create an illustrated, expanded print and/or electronic versions.
More information may be found at www.onehourphotographer.com

6. Chapter One: Your Vision
Only you can create your photographs. No one else will ever take a photograph
exactly the way you do. This doesn’t mean everything you do is pleasing to other
people, it just means your vision is your own.
The fact is, the day you stop developing your vision and style and learning new
techniques is the day your photography career begins to decline.
Our world is saturated with photographs. However, I’m in awe at how many new
photography concepts and ideas are created every year. I’m also amazed how
people, including myself, still appreciate good, high-quality photographs, no
matter the style. I’m convinced that there are not enough photographers in the
world to photograph all the images that need to be created.
Your vision involves many elements. Composition plays a big role. How you
approach lighting is important. Every decision you make until the instant your
heart or instinct tells you to click the shutter is a part of developing your vision for
that image. Some opportunities give you a lot of time to create a photograph,
while other moments are missed in a fraction of second. Every choice you make
affects your final image.
There are many types of images. Some photographs are made to capture the
moment, while other photos are developed over a longer period of time designed
to create a moment.
It is your vision; there is no wrong answer.
Breaking the rules is one way to develop your vision. This book contains a lot of
photographic rules and suggestions. Once you understand what the rules are, go
break them.
Try new angles or points of view and look for opportunities that other
photographers do not see. Use the lens differently than other photographers do.
Test new lighting angles and sources.
Capturing the moment
Event photography, photojournalism, nature, editorial, sports and documentary
photography all require the ability to capture the moment. They tend to use wide
and long lenses exclusively, leaving everything else for everyone else. Timing
and understanding when to press the shutter button take practice. Knowing your
subject and environment is key.

7. If you want to practice your timing, sports photography is a good place to begin.
Local high schools or parks with pickup games are good training grounds. Make
sure you get permission or as a courtesy ask the subjects if they mind if you
photograph them.
Your goal is to develop patience, improve your skills to think quickly and to learn
when to click the shutter and capture the decisive moment.
The decisive moment is the peak moment of a situation, the moment when most
of the action or emotion is being displayed. It is the high point that tells the best
story. This skill takes time to develop; for many photographers it takes years.
Being prepared and observant will offer rewards no matter what type of
photography you pursue. Always have your cameras ready.
Creating the scene
If you are not capturing exact moments with your camera, you are most likely
creating the scenes. Photographers tend to be better at one type of photography
than the other; few excel at both. Capturing and creating scenes require different
skills. Creating the scene is common in commercial, advertising, product and
fashion photography.
Commercial photography often requires a studio, lighting, set materials and
equipment to create the desired scene. Some commercial assignments are built
on location. Nonetheless, it’s the photographer’s job to create the visions,
whether her own personal vision or that of a client.
You do not need to make your final decision about where you want to take your
photography now. Develop your vision and it will lead to the right place.
Developing your vision is a life-long process. However, you should start with a
goal in mind and make adjustments along the way.
Chapter Two: The Basics
This chapter is the most technical part of the book. It is important to understand
the basics of photography before you can proclaim yourself a photographer for
hire.
Photography is a French word meaning drawing with light. That is what you are
doing every time you photograph something.
The basic foundation of photography has very little to do with all the high-tech
electronics we use today and everything to do with light. The room you are sitting

8. in can be turned into a camera. The concept is basic and examples are all
around us.
I have a friend who fell asleep as he lay in the summer sun. His hand was on his
chest, unmoved through his entire nap. That enjoyable summer nap became an
excellent illustration of photography.
What happened?
He received a sunburn over the front of his body and a nice photogram of his
hand displayed on his chest. We spent the entire summer chuckling about his
artistic misfortune.
Photography, traditionally, is a chemical reaction to light. If you place your keys
on a newspaper and leave it in the sun for a few days, what will happen? The
newspaper will turn yellow except where your keys laid unmoved. Photography!
Back to the room, car, bus or any enclosed space in which you find yourself
sitting. If you paint the interior black, block out the windows, place a white sheet
of paper on the opposite side of a small round hole leading to the outside world,
you have a camera.
Light travels in a straight line. Because of this, you would see the outside world
displayed on the paper on the opposite side of the hole in your camera (upside
down and reversed). This concept has been known for hundreds of years.
The technical challenge through the centuries has been to find a way to
permanently fix the images. Waiting for paper to yellow is certainly not fast
enough to create a portrait. In the 1800s, inventors began to improve the
solutions used to capture images. Except they had a problem: Once the image
was exposed to light a second time, it would fade.
In 1826 a French inventor named Nicéphore Niépce solved this issue by
inventing the first permanent image process. Thus, modern photography was
born.
Your light-proof box with a small hole (aperture) will allow reflected light in to the
camera. The photons expose the light-sensitive material. To stop the material
exposure, the light source needs to be stopped. To turn off the light source, a
shutter is needed to cover the round opening in your camera. The strength of the
light source, the size of the opening, the sensitivity of the light-sensitive material,
and how long the shutter is open all play a role in creating a proper exposure.
It was much harder to find the right exposure in the 1800s. With practice,
photographers developed their own photographic solutions. Many photographers
built their own cameras, a startling concept to us today. Others invented new

9. light-capturing formulas and techniques. Cameras and optics improved over time.
Today, we don’t have to focus as much on how to properly expose our images,
although a proper exposure is still mandatory. The digital camera takes care of
much of the work.
Before the digital revolution, much of the photographer’s time was spent on the
pre-production needed to create the final image. Today, the photographer’s time
is focused on post-production. Either way, the basics of photography are still the
same.
If the concept is so basic, why do we have all these electronics? The bottom line
is that they are designed to improve upon and make it easier for you to use the
basic principle functions of your camera.
The aperture is the size of the opening that allows light into the camera.
Photographers soon discovered they were better served with different-sized
openings, depending on the lighting conditions. The standard full f-numbers are
1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 and 32. The lower the aperture number, the more
light is let into the camera. Each step up to the next number halves the amount of
light let into the camera. A move down to the next-lowest aperture doubles the
amount of light let into the camera.
The size of the opening relates to more than just light. Smaller openings offer a
clearer image. Larger openings start to blur the foreground and background
around the subject. We call this depth of field.
Depth of field is the area of focus around the subject. A large depth of field will
have a higher aperture number, such as 22. A landscape is a good example of an
image with a large depth of field. Many of history’s top landscape photographers
used an aperture of 32 and 64. Everything is in focus.
Portrait photographers tend to use a shallow depth of field to blur the
background. An aperture setting of 2.8 will turn the background into patterns,
forms and shapes. This technique will keep the focus on the subject by
separating them from the background.
Depth of field can be calculated. Unfortunately, it is different for every lens. A long
lens, such as 200mm, compresses the field of view, making an aperture setting
of 5.6 much shallower than a 24mm lens would create. This is because wide
lenses spread everything away from the lens.
Many photographers take advantage of the compression capabilities of a longer
lens. Fashion, sports and portrait photographers often use a long lens to help
bring objects in the distance closer so they appear to be directly behind the
subject.

10. Shutter speed is important for stopping action or showing motion. Standard
shutter speeds range from thirty seconds to 1/4000 of a second and faster. Two
different shutter speeds can have a dramatic effect on the same subject. For
example, if you photograph a waterfall at a fast shutter speed, the water will
freeze the droplets and splashes of water in the scene. A slow shutter speed will
present a silky flow of water.
Sports photographers use a fast shutter speed, often over 1/500th of a second,
to stop the fast-paced action in front of their lens. A night-time landscape
photographer will use the B setting to leave the shutter open for an extend period
of time to show a trail of stars moving across the sky.
Film speed and digital sensitivity
Before the turn of the 21st Century, film speed played a much larger role in the
average photographer’s life than it does today. Photographers were required to
pay more attention to film sensitivity represented by ISO (or old-school ASA). ISO
stands for the International Standards Organization (officially called International
Organization of Standards http://www.iso.org) and ASA stands for the American
Standards Association.
The lower the film ISO or digital sensitivity, the higher the quality of the image..
Lower ISOs need more light to create a proper exposure. Higher-quality images
enlarge more clearly with less grain or noise. The downside is that lower ISOs
require more light to create a proper exposure.
Grain refers to the amount light-sensitive material that can be seen within the
enlarged film-based image. Noise is the digital version of grain.
Higher-speed film requires less light, but the quality of the image is lower. Higher
sensitivity ranges produce more grain in film and noise for digital captures. This
result is generally less desirable.
Both grain and noise can be used by photographers as an artistic effect. Some
photographers produce a grainy image in the camera by using high ISOs while
other photographers use lower ISOs and add grain and texture in Photoshop.
Currently, there is a race among manufacturers to build cameras with much
improved pixel quality and sensitivity. These cameras create images with ISO
ratings many times that of traditional film. Film generally ranges from speeds of
50 to 1600. Some of the new cameras built by major manufacturers are
producing results with 100,000 and 200,000 ISO.
The images created at the top digital range of the ISO spectrum do produce
more noise, but also offer, some would say, better images than traditional 1600
ISO film at 6400 ISO.

11. The new, higher, camera-sensitivity ranges produce new opportunities for
photographers who work in low light. Photojournalists who prefer not to use
outside light sources have more flexibility. Natural light portrait and nature
photographers can shoot a little later into the evening. Wedding photographers
can be less intrusive at wedding receptions located in dark halls.
What is a properly exposed photograph?
I’m often asked what is properly exposed photograph. As someone who had to
study an inch-and-a-half-thick book on Sensitometry (the study of light-sensitive
materials) in photography school, I really want to keep this topic simple.
The best and quickest test is to look at the highlight and shadow detail of your
image. Everything in your photograph should have detail (unless otherwise
planned). A white shirt should still have detail. A dark shadow should still reveal
texture. If both your whites and blacks show details with good image contrast you
can be confident your image is exposed well.
Some photographers enjoy using High Dynamic Range (HDR) to create well
exposed as well as dramatic high contrast fantasy like images.
These photographs are created by combining multiple exposures of lighter and
darker versions of the same image in the computer. The photos are processed to
create a single, unique image.
Although some HDR results may represent a natural-looking photograph, most
HDR images have surreal look to them. HDR images can be created in
Photoshop as well as with stand-alone applications, such as Photomatix.
Trey Ratcliff has excellent information and tutorials on the topic at http://
www.stuckincustoms.com/
If you are interested in more advanced concepts, go to your library or Google
Ansel Adams’ zone system or Sensitometry to begin your path toward becoming
an exposure master.
Chapter Three: Composition
Composition is as easy as tic-tac-toe.
Composition is how a photographer frames the subject or scene within the
viewfinder.
Creating a great composition is more than positioning the subject away from the
center of the frame, although this is a good start.

12. Improving your composition begins with the rule of thirds. Mentally divide your
camera viewfinder into thirds. This can be done both horizontally or vertically. In
most cases, it is practical to combine both horizontal and vertical thirds into a
mental tic-tac-toe board—nine squares. Some cameras will do this for you.
When composing the scene in front of you, there is one square of the nine you
don’t use—the one in the middle. Of course, when you read your camera manual
it will tell you to use the rectangle placed in the middle of your frame for
composition and focus. This can be overcome by using features found in many
cameras that allow you to freeze the focus. This allows the photographer to
center the viewfinder on the subject, partially depress the shutter button, and
hold it while he moves his camera to the desired composition. Most SLR
cameras today have multi-point focusing systems. This makes it easier to focus
outside the middle of the frame.
Another way to use the tic-tac-toe board is to place the subject at one of the four
intersecting lines around the middle square as your point of focus.
Many photographers visualize a diagonal line in the viewfinder (edge corner to
corner) and use that as a guide, photographing the subject only above or below
the diagonal line. An easy way to always satisfy the rule of thirds is to fill the
frame with your subject.
There are many other ways to approach composition. The key is to be mentally
aware of where you place the subject in relation to the frame, the scene and
objects in the foreground and background. Every photograph needs a point of
focus. In other words, ask yourself where the viewer’s eye should go first.
Decide if you are you looking for balance in your image or think the best option is
asymmetrical (off balance). Look for patterns and shapes in your images to add
interest.
Consider the Golden Ratio (http://en.wikipedia.org/wiki/Golden_ratio) as part of
your compositional bag of tricks. It, along with the triangle, is among the most
powerful forms and patterns in visual art.
Not all photographs should be taken at eye level. Explore new angles.
Photograph from above and below the subject. Remember, you can take both
horizontal and vertical photographs. Photograph through objects, such as flowers
or trees, in the foreground, and look for natural frames. Frame your subject with
related or supporting items that help to tell the story.
Create composition assignments for yourself to practice creating different types
of looks and styles. One practice assignment to consider is to create a two-
dimensional image where everything is on the same plane. Then create a three

13. dimensional image displaying a sense of depth. Photograph subjects at various
points within the viewfinder. Analyze the differences.
When it comes to composition, my best tip is to keep it simple.
Chapter Four: Photographing people
I’ve had the opportunity to photograph many famous, prominent and interesting
people through my career. I’ve photographed presidents, movie stars and people
who made a difference in their communities.
One of my favorite stories occurred when I photographed Sarah Ferguson, the
Duchess of York, a few years after the death of Princess Diana. It was a last-
minute assignment and I had to race to the location. I met the reporter and we
were led into a small office, where the Duchess was sitting against a wall with
two chairs in front of her. To the right of us was a public relations person taking
notes.
I pulled my equipment out and listened to the conversation started by the
reporter. The room was dark so I pulled my flash out of my bag. I politely
interrupted the interview. I gestured with my camera that I was about to take her
photograph and asked if she would mind if I used a flash.
There was long awkward silence.
The Duchess looked at me and said, “You know something?”
More silence. Then she said:
“You are the only photographer to ever ask me to take my photograph.”
Considering there was a time she was one of the most photographed people in
the world, that was a statement.
After that moment, the atmosphere transformed and her demeanor changed from
formal to casual. She nodded to the public relations person and he excused
himself.
We had an excellent interview. She opened up and began sharing stories about
her life and the Royal Family. After the reporter’s questions were answered, we
said our good-byes. She walked us to the door expressing her pleasure with the
interview and the conversation.

14. That interview was an excellent lesson for me. All people want to be appreciated
and respected, and not treated as an object. No matter your subject’s status or
attitude, you should always be considerate and professional.
Photographing people is challenging and rewarding. People are interesting
subjects. A person in the photograph engages the viewer more easily than an
inanimate object does.
The subject of photographing people is worthy of a lifetime of study.
The standard studio portrait requires that the photographer create and light the
environment for the subject. A good model is worth her weight in gold. She
collaborates with the photographer to create new poses.
It is worth keeping a few examples of possible poses on your phone, tablet,
laptop or in print form in your camera bag to give models suggestions. This is
especially helpful if you are photographing clients or inexperienced models.
Generally, when taking portraits, it is better to use a longer lens. A longer lens
squares up the image and compresses the background, making it easier to
create a shallow depth of field, which softens the background. The typical portrait
lens is between 70 and 135mm.
The environmental portrait is a picture of a person posing in his environment.
Often a wide-angle lens, which has a larger depth of field, is used, particularly in
photojournalism. Images with a wide-angle lens show more of the scene and
help tell the subject’s story. In a environmental portrait, the person is generally
looking into or posing for the camera as they might in a traditional studio portrait.
Environmental portraits are often confused with candids. Candids share many of
the same elements; both depict someone in their environments. The difference is
that in candid photography, the subject doesn’t know of, care about or
acknowledge the camera. Street photography is a good example of candid
photography. The key is to know when to click the shutter at the decisive (peak)
moment.
There are many types of “people photography,” such as fashion, sports,
weddings, children and corporate portraiture. Each requires a different skill set.
Here are few tips to get you started in the right direction:
Don’t photograph people against a wall. The only reason a wall should be behind
them is if it enhances the photograph. Often it does not.

15. Play the subject off the shapes in your foreground and background and make
sure that the background elements don’t distract from your subject. In most
cases, simple background forms and shapes are best.
When photographing portraits, interact with the subjects. Let them get
comfortable with you and the situation. For street and candid photography, do the
opposite—shoot first and ask questions later, especially if you see a great
moment.
Make sure your subject’s eyes are in focus. Notice the little things that can
enhance your photograph. Using props is an excellent way to add interest and
help tell the subject’s story.
If you are photographing children, get down on their level. Look at the world
through their eyes and let them be themselves, not what you think they should
be.
Using a flash outside will help even the lighting and make your subject pop out
from the background. Try to avoid using the flash on the camera when possible.
Straight-on flash tends to flatten the subject, making the image less interesting.
One of my best tips for photographing people (and most photography subjects) is
to follow the masters and try to do what they do. Look in books and magazines
and attempt the techniques that inspire you. Chances are, you will develop your
own style in the process.
When it comes to photographing people, you can’t get away from the fact that
interesting people support interesting photography.
Lindsay Adler's book, Fashion Flair, is a good resource for photographers who
want a fashion look for their wedding and portrait photography.
Chapter Five: Equipment
Photography is not about the equipment, but good equipment supports quality
photography. The big question is always, how much equipment do you need?
Before you do anything, borrow camera equipment from your friends (ask first),
rent cameras and lenses from rental houses or take your own disk to the camera
store and test the equipment.
A lot of expensive equipment is not needed to create a photograph. A camera
can be made out of a shoebox. (Remember the pinhole camera.) Everything else
is about control, image improvement and convenience.

16. When deciding on equipment, think about the types of photos you are going to
create. Ask other photographers what they use for specific assignments.
Camera
What type of camera should you buy? For many budding photographers at the
beginning of their careers, budget will be the biggest factor. If you are serious
about photography you must consider a digital single lens reflex (DSLR) camera.
These cameras give you creative control over exposure and offer numerous
functions that make photography easier. Just as important is the ability to change
and upgrade your camera lenses.
Don’t be lured by the shiny objects. Your camera should match the needs of the
type of photographs you wish to make. One of the first questions people ask is
how many megapixels a camera should have. I’ve created beautiful billboards
with files as small as six megapixels. Generally, files over eight megapixels will
satisfy most any output need.
Camera bodies continue to improve each year. The new cameras available these
days will satisfy your megapixel requirements. Future generations of cameras will
continue to improve the quality of the pixel. This means each pixel will contribute
to higher-quality resolution of the image. They will have greater ability to capture
an image in less light and offer better color representation.
Photographing in low light can be a challenge. If the type of photography you
plan on creating involves low light, consider a camera focused on creating quality
images at higher ISO or sensitivity.
If you are photographing fast-moving subjects, consider cameras with fast frame
advancement or high fps (frames per second). Cameras with extremely fast
shutter speeds are also helpful for action photographers.
Will your assignments require a durable camera? Will you need video? Is
automatic or manual control over your camera important?
The camera manufacturers add many features you don’t even know you might
want. Before you purchase your first camera, write down all of the features you
think you need. Remember the shoebox.
Lenses
Just as important as your camera body—some would say more important—are
your lenses. If you are going to spend a lot of money, spend it on quality lenses.
Without a good lens, your camera will have a harder time capturing crisp and
clear photographs. Higher-quality lenses create sharp photographs across the
entire frame.

17. When you have the urge to upgrade your equipment to improve the look of your
photographs, consider skipping your current camera body upgrade and invest in
better lenses.
Poor lenses will not offer the same sharpness as more refined and often
expensive lenses. Pay special attention to the corners and edges of your
photographs. Lower-quality lenses tend blur at the edges.
Generally, lenses with larger glass (optical elements) offering a 2.8 aperture or
lower are considered the premium lenses. Different manufacturers excel at
building different types of lenses. There are a lot of general rules when it comes
to lenses, but testing is the only way to know for sure.
Fixed or telephoto? Traditionally, fixed or prime lenses such as a 50mm are
considered sharper than a zoom or telephoto lens. Technology has improved
greatly through the years and this has become less of an issue. With that said,
the fact that a zoom lens depends on more elements increases the chances of
more complications or failure.
Prime lenses are generally less expensive and offer lower apertures, which is
helpful in low light. Telephoto lenses offer the practical availability of always
having the right focal length. If you decide to go the zoom lens route, consider a
wide- to mid-range lens, such as a lens with a range of 17 to 55mm, and one with
mid-range to telephoto capabilities. A good telephoto zoom lens would be a
70mm or 200mm lens. With these two lenses, you can cover a wide range of
photography needs.
Another consideration is the size of your camera’s sensors. Many camera bodies
do not have a large-enough sensor for full-frame capture. This is called a crop
factor and affects lens valuations. Most cameras that don’t offer a large-enough
sensor have a crop factor of approximately 1.5. The result will turn a 50mm lens
into a 75mm lens.
This issue has increased the popularity of ultra-wide lenses. Although it might
seem convenient that your 200mm lens now equals a 300mm, your 20mm being
converted to a 30mm is not practical. An ultra-wide 14mm lens solves this issue,
offering the equivalent of a 21mm lens.
Test lenses before you buy. A photographer may order lenses online or visit a
camera with her own camera back and laptop to test each lens.
I know photographers who test two or three of the same lenses from the same
manufacturer before they make their selection. Yes, there can be a difference
from lens to lens even if it is made in the same factory.

18. Off-brand lenses are worthy of consideration. Some of my best lenses are third-
party or off-brand. Don’t forget fun lenses like a Lensbaby, specialty lenses like a
tilt-shift (great for architecture), fisheye, or a macro lens for close-up work. If you
see value for your photography, try the lens out.
My favorite lens is a 135 2.8. It is a great portrait lens, it’s lightweight, and I use it
as a longer stealth lens to capture great candid photographs at events.
Your lenses are an investment. Make sure you protect them in a case and use a
microfiber cloth to clean the glass.
Other possibilities
Your supporting equipment should be purchased based on the same rules as
your camera. Do you really need it?
Your flash should be TTL (through the lens), designed by the manufacturer of
your camera so they work together efficiently. How large a flash you need will be
determined by how far away your typical subject will be from your camera. Also,
the size of the space you will be photographing will play a role in to how much
power you need. We will talk more about lighting equipment in the lighting
section of this book.
One thing I recommend that you do not do is to depend on the pop-up flash for
your professional work. Straight-on lighting is the worst type of lighting available.
It flattens out the image and doesn’t provide as much depth and character to the
image.
Purchasing equipment to protect your investment is always a good idea. Hard
cases can be expensive, but if you travel it might be a good idea to invest in one.
Quality camera bags and lens cases are always worth your consideration.
The most important thing to remember about equipment is to have it with you.
Many of the best photographic opportunities were never captured because the
photographer didn’t have his equipment with him.
One afternoon on the way to the newspaper where I worked, I decided to leave
my personal camera at home. I knew I would soon have my newspaper-issued
cameras when I got to the newsroom. What could happen during the short two-
mile trip?
On the way, I decided to take a quick detour and stop by the local hardware store
for some needed items. After I completed my shopping and pulled out of the
parking lot I noticed a big box truck racing down a street near the highway exit
ramp. I could feel in the pit of my stomach that something bad was about to
happen.

19. The truck lost control and tipped over on its side three cars ahead of me. I
jumped out of my car to see if anyone needed help. When I got to the truck, I
stood there in awe for a long moment. Then I saw one of the most powerful spot
news photography opportunities I have ever witnessed.
As the truck laid on its side with the roof in front of me, glass and truck pieces
everywhere, a bloody hand began to reach out of the driver’s side window
straight up toward the sky. It was an amazing image, one that will only live in my
memory.
Don’t leave your equipment at home.
For more specific information about cameras and equipment, consider visiting
http://www.dpreview.com.
Chapter Six: Lighting
When lighting a subject, how many lights should you begin with?
The answer is easy. It is based on the answer to the following question: How
many suns do we have?
The answer is one. (I hope your answer was correct.)
Lighting is as complex as the photographer makes it. Many photographers have
made a great career using only one light.
The one light source could be our sun, which offers a powerful option and is an
excellent source, providing endless varieties of light, angles, colors and moods.
Or it could be a flash attached to the camera on the hot shoe (this holds the flash
on top of your camera) or with an external cord. A hot-light, a continuous light, is
standard equipment for professionals photographing stationary objects.
As a general rule, when using flash, the shutter controls the ambient light. Faster
shutter speeds make the background darker, and slower shutter speeds will
lighten the background. The aperture controls the external strobe exposure.
When using an external light, different combinations of speed and apertures will
offer different looks and results.
You can use any light source. Even a standard home tungsten bulb is suitable to
light numerous subjects. Many of the new light sources, such as fluorescent, HMI
or LED, are fine choices. Generally, these light sources have lower power and
moving objects will be harder to photograph..

20. Shadows Are Good
One of the most important elements of lighting is shadows. The goal of shadow
management is not to remove all the shadows. Many photographers use too
much light and therefore remove every sense of character from the subject or
scene.
To learn how to use light, begin with just one light. Then add more lights and
reflectors to support the main light. Once you are able to do this effectively with a
feeling of competence and control, you will be on your way to developing your
own lighting style. I highly recommend following Zack Arias on his blog, http://
zackarias.com/blog and David Hobby on his blog, http://strobist.blogspot.com.
They both offer great advice.
After you have developed a high comfort level with one mono light, purchase an
additional light. Learn how to adjust the ratios with each additional light. Do this
every six months to a year as you master the use of additional lights. Continue
until you have enough lights for most projects. In many cases, you will go back to
just using one light.
Always remember to make one light the dominant light. All other lights should
have lower power and be used support the main light.
If you are photographing large areas or non-moving subjects, a tripod allows you
to take multiple exposures with a single light in different positions. The final result
will be a creation built in Photoshop using the best elements, in multiple layers,
from each photograph.
Note: It is better to learn how to light a subject properly then to depend on
Photoshop to fix your images.
Practice using light coming from different directions with various subjects. You will
learn that different lighting techniques work best in different scenarios. For
example, food often looks better if you light it from behind.
Standard lighting for photographing people is with the light a little high and to the
side at a 45-degree angle. The lighting here all depends on your goal. Using
beauty light on a model (crossing out shadows) helps to hide flaws. Side lighting
may add additional interest to a face full of character. It all depends on the look
you are trying to establish.
Early morning or evening lighting works well for outdoor photography, when the
light is warmer and more dramatic. Three of the many wonderful photographers I
would recommend for more information on wildlife and nature photography are
Jim Goldstein (http://www.jmg-galleries.com/blog/), Gary Crabbe (http://
www.enlightphoto.com/views/), and Juan Pons (http://juanpons.org/).

21. Play with different light sources. You will be amazed at the discoveries you will
make. Many experiments will develop into standard tools and help develop your
vision and style of photography. Exploring and experimenting with light is one of
the most important activities you can do in photography.
Some pointers:
Direct light creates hard shadows. If you wish to create a dramatic or high-
contrast image, direct light will do the trick.
Another option is to bounce light off walls, reflective surfaces or through fabric to
create softer light.
If you bounce light off a wall, remember the color of the wall will reflect back into
your subject. If the wall is green, green will reflect back. This can create unhappy
results or you can use it to your advantage.
Umbrellas are a common solution for softening harsh strobe light. Different
fabrics inside the umbrella change the quality of the light reflected on the subject.
Soft, white material offers a different reflective quality than metallic silver. Soft
boxes also are popular for the clean, window-like light they provide.
Although the baseline for light is white, white can be boring.
Compare a shot lit with a standard tungsten light bulb with one of the newer light
bulbs, such as HMI or LED, or even fluorescent. Remember, these light sources
are generally lower power and moving objects will be more difficult to
photograph.
Strobe lights cast white light, tungsten casts yellow light, and fluorescent green.
Traditionally, external filters are needed to correct the non-white tints.
Fortunately, many cameras now have filters built into the camera for easy color
correction.
Try "painting" in the dark with an open camera shutter on the B or bulb setting
and using a flashlight as a moving light source. Experiment with silhouettes.
Check out Don Giannatti, http://www.dongiannatti.com, as a resource for lighting
tips. He also has a helpful book, named Lighting Essentials.
Chapter Seven: Post Production
Now that you have created your photographs, it’s time to consider post-
production to enhance them. Before you open your photos in Photoshop or any

22. photo-editing software, make sure you back up all your images first using the
3-2-1 rule.
I was introduced to the 3-2-1 rule as a best practice many years ago by Peter
Krogh, author of The DAM Book: Digital Asset Management for Photographers,
a book worthy of your library.
The 3-2-1 rule is important because you have spent your time, talent and energy
creating beautiful images and you do not want to lose the files. It is highly
recommended that you follow the 3-2-1 rule to protect your images.
To work the system, place your digital files in three locations, on two different
types of media and make sure one of these is located off-site.
For example, you can save your digital files on a hard drive and two copies on
DVDs. You will take one of the DVDs home. This has been a common method for
years.
Optical storage devices have become less popular. Using multiple hard drives,
RAID systems and cloud storage is gaining momentum. Cloud storage (storing
data on an outside company’s server) is an excellent option, but it can be rather
expensive for large-scale storage.
I recommend you be selective and store your most important and valuable
images with cloud storage services. Remember, if these services are not
foolproof and data can be lost. Some companies may even go out of business,
so choose carefully.
More information may be found at http://dpbestflow.org/. This Web site is an
excellent resource for best practices and workflow ideas for the photographer.
Post-production is an important part of a photographer’s workflow. It is now
expected that every photographer knows how to process her own images to the
highest level.
In the past, once the image was created on film, a lab processed the
photographs. If the photos needed retouching, an expensive specialist would
make the flaws disappear.
Due to the high cost of retouching, it was important that the photographer get it
right the first time. Today, many photographers have Photoshop and figure they
can fix everything later.
Do not use Photoshop as a crutch. Not everything can be fixed in Photoshop. As
I like to remind everyone, It's hard to capture the decisive moment in Photoshop.

23. Additionally, before you start sending photographs to your clients, it is good
practice to make sure your monitor is calibrated. Every monitor changes color
over time and each displays images differently. If you don’t calibrate, you are not
making correct adjustments.
If you share an image from a poorly or unadjusted monitor and the client has a
monitor that has veered off in the opposite color direction, you will have an
unhappy client.
If a client complains about off colors and you calibrate your monitor regularly, you
can stand by your work with confidence. You can ask if your client’s monitor has
been calibrated properly. If it has not, you can recommend they try a different
computer or follow up with an in-person review. You may then display your
beautiful images on your own equipment. Two calibration equipment companies I
would recommend are Data Color (Spyder) or X-Rite.
The best way to improve your Photoshop skills is with practice, a lot of it. Take
workshops and discover new techniques from online tutorials. Be patient.
Photoshop and post-production skills take time to master.
If you don’t feel your skills are at the level they need to be or you are short on
time, hire an expert. There are many professionals waiting to support your
photography business. Test a few and work with the one that seems most reliable
and makes your work look incredible.
Don’t overuse Photoshop. As with most things in the visual world, less is more.
The ability to use opacity and master blending techniques takes time. If the
viewer’s first reaction to your images is that it was Photoshopped, you failed.
Instead, you want the viewer to appreciate your vision.
Some Photoshop tips:
Don’t allow unplanned patterns to develop in your image. This is especially
common if you use the stamp tool. If you see the same small element in multiple
places, they need to be changed.
Look at your image from multiple views. You will find errors at both the 100
percent view and at extreme close-up pixel-by-pixel views. Make sure you don’t
leave any hard lines or unnatural shapes within your image.
Take advantage of the Photoshop actions other professionals create. These are
mini-programs that create custom effects with the push of a button. There are
new concepts being developed all the time. You don’t have re-invent the
standards.

24. Unfortunately, photographers often forget to include or they undercharge for the
many hours it takes to fix an image or develop a high-end, post-production look.
The fact is, making quick adjustments while photographing, such as moving a
cord out of the frame, is often less expensive on set than fixing everything later.
The photographer’s time is valuable. It is important to understand business.
Scott Kelby offers some great classes and products to support you with
Photoshop.
Chapter Eight: Business
You can be one of the best photographers in the industry. Unfortunately, if you
don’t understand the business of photography, you will most likely fail.
Business at the basic level is as simple as having more income than
expenditures. Most photographers have little idea how much they are making.
Even more have less of an idea how much they are spending.
The ideal is to have more money coming in than going out. I know photographers
who charge less than many and make more money at the end of the year for the
same amount of work. They don’t make more because they charge less, they
make more because they understand their business. They know how much it
costs to produce an assignment. They understand how much to charge to cover
their basic expenses plus a profit. They run their business based on financial
facts.
It is more common for photographers to raise their rates substantially once they
do an analysis of what it really takes to run a photography business profitably.
A quick way to do this is to add up all of your expenses. Everything.
That includes camera equipment, studio, insurance, car, gas, pre-and post-
production time and your salary or how much you feel you should make as a
photographer over the next year. Then divide that total by the total number of
assignments you had last year or a realistic number of hours, days or
assignments you plan to expect to work over the next year.
Chances are you will be surprised at the true cost of running your business.
Protect yourself. Make sure you have equipment and liability insurance. It is also
important to invest in back-up equipment. Hire a good accountant and other
professionals who will support your company.

25. Many business owners have found out the hard way that not having a
professional team behind them can be costly. They often mistakenly think they
are saving money by doing it themselves.
Unfortunately, they don’t realize that the valuable time they are spending on
business activities that they should be outsourcing is costing them money.
If you don’t have expertise in a business activity, you are most likely doing it
poorly or ineffectively. This will cost you more money down the road. The poor
quality of the work, plus the time taken away from photographing, creating
samples, serving clients and developing your business, is expensive.
The case for per-image pricing
Cheap photography and lower barriers to entering the photography business are
two realities of the digital and Internet age. My belief is that per-image pricing is
the key to survival for the modern photographer.
Allow me to offer my favorite illustration: A client requests photography for a
website. The company needs 10 images shot on location. No models or special
props are needed. They figure it will take a day to shoot; you agree. As a
photographer, you have three common options for estimating the project: You
can offer a day rate, a per-image rate, or a per-project rate. Let’s say, without
consideration for usage of the images, we estimate the job at $2,000 ($1,500 for
the day and $500 for expenses).
If you offer a day rate, the first thing a client will wonder, especially if they have
not worked with many photographers, is if the photographer or anyone is really
worth $1,500 a day.
Today’s photographers tend to work much faster and are much more efficient
than in the days of film. In the era of film photography, day rates may have made
sense.
If a photographer is hired for a day shoot and completes the assignment at 2
p.m., what might a client request? Often, it’s a discount, because the value of the
assignment is based on the photographer’s time. The photographer is penalized
for his productivity. If the photographer reminds the client that the $2,000 rate is
still in effect because the entire day is reserved for the job, the client may then
feel cheated.
What if the photographer spends the entire day on location, works hard and
creates 15 wonderful images? Is the client happy? Absolutely; the client received
a bonus. What benefit did the photographer receive for his great work and
efficiency? Nothing.

26. You can argue that a happy client is worth the effort. This is true. But, if you feel
you are being taken advantage of on a regular basis, attitudes tend to change.
This erodes good relationships over time.
If the photographer offers a per-image price of $200 for each of the 10
photographs, it is much easier for the client to see the value of each photo.
If the photographer is efficient and completes the project at 2 p.m., does the
client look for a discount? No, the photographer is a hero because everyone can
go home early.
If the photographer spends the entire day on location and creates 15 wonderful
images, what might the result be? Often the client will purchase the additional
images if she has the money for it. The photographer is rewarded for doing a
good job. The client is often happy to purchase the additional images. She is not
upset about the purchase because she understands the value of each image and
has no obligation to purchase.
Depending on the production costs of the assignment, it is generally better not to
require a minimum purchase, although a minimum purchase requirement may
be necessary if production expenses are high. But, if clients are expected to
purchase additional images they like, should they have to pay for images they
don’t like?
I present myself as a high-value, low-risk photographer. I’m not cheap. I’m a
good photographer. But, I don’t want clients feeling bad because they have to
purchase images they don’t like. I have learned that having a client pay for
unwanted images is a greater cost than the rate charged for the images. When
clients know they have choices, they will be more flexible. Often they will call if
they have another photo job.
When shoots involve more production, a project rate may be in order. Projects
that take multiple days or require a specific amount of time may also require such
rates. There are times when hourly rates are appropriate. Events are a good
example because the photographer can’t leave early because she is highly
efficient.
Pricing options are endless. Sometimes, when presenting a per-image system,
the first image could be charged at a higher rate than the additional images. For
example, the rate for the first image could be $500. Each additional image could
be purchased for $375. Models, props and location fees can be separate, line-
item charges. Usage and licensing fees also may be added on a separate line.
Whether the usage is listed separately or not, the license always should be listed
in the quote and contract.
The need for custom photography is greater than ever. As high-end Web sites
are becoming standard for businesses, the quality of a company’s Internet

27. presence is more important then ever before. Poor photography delivers poor
results. Average photography offers average results. Generic stock images do
not reflect a company’s unique professional image.
The print world is finite. The world of the Web is practically infinite. When a client
needs images for a brochure, the amount of room available for additional
photography is limited. However, clients may benefit from every image they want
for the company’s Web site.
As digital photography has evolved, photographers have attempted to charge for
the additional costs and production time associated with digital imagery. Using a
per-image pricing model allows the photographer to incorporate such expenses
into the cost.
Sometimes photographers (myself included) do not price their projects correctly.
Under-priced projects lend themselves to additional poorly priced opportunities. If
a photographer offers to take three individual portraits in one hour for $75, in
most cases she has underbid the job. Let’s say she completes the project in 45
minutes and two additional people show up. Of course, the project would take
longer, in this case 70 minutes total, and the photographer may not charge for
the extra ten minutes. The client receives five images for $75.
If the photographer charges $25 per image, although a very low rate, the
photographer will still make $125 for the five images. Most likely, the client won’t
blink.
With per-image pricing, the advantages to both the photographer and client are
great. The client’s time and budget are respected. Often the client becomes
eager to use the entire budget available. Being respectful of the client’s time is
not to the benefit of a day-rate photographer.
The assignment
I have been photographing for more than twenty years and I still get nervous
before an assignment. Why? Because I know how many things could go wrong.
The best thing you can do is plan and prepare. Make sure you understand what
the client is looking for. It doesn’t matter if it is a senior portrait, a wedding or a
corporate advertising campaign. Make sure you set expectations and are clear
on the goals of the assignment.
Every client is different. Some want the photographer to be a technician and
others are depending on you to be a visionary.
Family or retail photography requires patience and good social skills. These
professionals photograph weddings, family events and special occasions. The
skills needed depend on your vision. Some family photographers are

28. photojournalistic in style, while others are more formal, using commercial or
fashion techniques.
Commercial photography is about creating the client’s vision. These
photographers are often hired for their style. The trick is to apply your style to the
client’s vision. Commercial assignments tend to involve more production and
require planning.
Stock photography is all about finding and creating a portfolio of desirable
images. Good stock photographers generally have at least one specialty. They
are always on the hunt for new ideas and concepts to shoot. Stock
photographers need to be self-starters. If they are not, they will not meet the
required number of quality submissions needed for a regular income.
Stock photography has become more of a supplement to many modern
photographers income over the last five years. Micro stock and subscription
based stock photography Web sites have dropped the standard stock
photography rates from a few hundred dollars to one dollar. The photographer
only receives cents for each image used.
The goal is to create photographs that a lot of people will want to buy.
There are many photographic specialties to consider, such as aerial, forensic,
health care, underwater, paparazzi, food, portrait, family and glamor, to name a
few. No matter what the assignment is, there are standard issues a photographer
needs to consider.
Make sure you have contact information and cell phone numbers for all of the
people involved, maps or addresses for your GPS.
Twenty years ago, we didn’t have many of the conveniences we have today.
Because of this, I missed one of the best landscape photographs Mother Nature
has ever presented to me.
It was my first day of a two-month assignment photographing horses in Vermont,
back when I was just a fledgling photographer. The first morning, I had to follow
the lead photographer to our first location in a separate car. I had a cell phone at
the time, but he did not, and GPS was not an option.
Five minutes into the early morning drive, I noticed a large stand of trees. They
were as bare as a forest in midwinter. The morning sun was coming up behind
them, and as I passed by, I noticed something incredible.
Covering all the trees were perfectly shaped spider webs between every branch.
Each of the thousands of webs had beautiful morning dew reflecting the orange
early morning sun. I had never seen a natural scene so amazing.

29. I debated whether I should stop. I had no way to communicate with the
photographer I was following. I didn’t stop. I hoped the scene would be there the
next day. The following morning I was prepared. Unfortunately, all that was there
was a the stand of bare trees.
I always recommend that everyone have a back-up for everything, especially
cameras, batteries and lighting. If you can’t afford your own back-up camera,
make sure you can borrow or rent one when necessary. Some photographers
back each other up with equipment.
Raw files or Jpg? This is the question on many photographers’ minds. A Raw file
is one that is uncompressed and untouched by the camera’s software. The result
is a high-quality file that can be readjusted without denigration of the original
image file. If you need the highest-quality images, Raw files are the answer. The
general rule is to always use the best-quality file available from your camera.
Many photographers use smaller Jpgs for high-volume photography, such as
events.
Consider the little things that you might need on location, such as a lunch plan or
cash for random fees. The bottom line is that when it comes to a photography
assignment, something can go wrong. Having a plan will limit the downside.
Copyright and the law
Just like writers, musicians and moviemakers, photographers earn income from
their copyright and licensing their work. The images photographers create are
considered intellectual property and therefore are copyrighted. As soon as you
click the shutter, you are the owner of a copyrighted image.
Where and what can you photograph? Anywhere and anything that is in the
public view (in the United States). This includes people, buildings, signs or
animals. If it is out in public, it’s fair game. There are exceptions, such as
government, military and locations that are protected because of national security
concerns. It is up to you, the photographer, to understand the laws and rules of
the country, state or location you find yourself photographing.
Although you can take photographs in public for the press, for books or for artistic
purposes without permission, it is important to always ask for written consent for
your files. You cannot sell images of others’ copyrighted or trademark property for
commercial use without written permission. This includes the likenesses of your
subjects and models. Make sure you have and use model releases at all times.
It is important to understand that the value of your photograph is not the same to
every person or client. A family or mom-and-pop store using your photograph for
a flyer or on their Web site will not apply the same value as would an advertising
agency using an image for a world-wide magazine and billboard campaign.

30. Your copyright is important. Please remember, if your copyright was not
important, companies wouldn’t be working so hard to gain it. Don’t let the
opportunity for additional income slip through your figures.
Understand that work made for hire (look for these specific words) means that
the company hires you briefly with no benefits, fires you and takes all the rights to
your images for the fee agreed upon. Technically, you can’t even use the images
for your portfolio.
If you are employed by a company that pays for the equipment you use, you
salary and your benefits, the company owns the image copyright. In this case,
you are a representative of the company.
You can find more information on licensing at ASMP.org and the United States
Copyright office.
http://asmp.org/tutorials/licensing-guide.html
http://www.copyright.gov
Branding
Your brand is not your logo. Your brand represents your company. It’s your
reputation. Everything you do represents what you do for a living. Today, with
social media, your negative actions carry more weight and travel farther faster.
Branding is the look and story you share with the world. Make sure it is
consistent.
Be sure all your envelopes, invoices and receipts are branded with your logo and
keep to the theme of your photography company.
Make sure you have a basic contract for your assignments. If you are ambitious,
develop multiple contracts for different types of clients and projects. A contract
tells your client that you are professional. It can also be quite handy if a client
changes the scope of a project or makes incorrect assumptions. Good contracts
protect both parties.
Hire a good accountant. Make sure you have a system in place to create
professional invoices and keep track of all income and expenses. Keep your
business money separate from your personal accounts. This is especially true if
you have incorporated your business.
!
Set goals
Goals help you to keep your focus. You are not a failure if you don’t meet all your
goals, but you will most likely fail if you don’t use goals as life guides.

31. At the beginning of each year, I set three goals. You can set three goals for your
life or you can break them down between personal and business. Personally, I
like to focus on only three. One is usually personal.
My goals are not easy to achieve. Some are accomplished within a year’s time,
but I often don’t complete all of them within a year. I’m often amazed that I still
end up achieving seemingly impossible goals after my year due date. The reason
is because I set myself up with a good foundation to make even my greatest and
long-shot desires a reality over time. You can do the same.
When I started the New Media Photographer podcast, I laid out three goals I
hoped to achieve as a result of my social media activity. First, I wanted to gain
consulting and business opportunities. Next, I wanted to publish a book. Third, I
wished to travel across the United States speaking, with the ultimate travel goal
to visit Australia to share my message. In October 2011, I landed in Adelaide,
Australia, to give three presentations on social media. All of my goals were
complete, although it took a little over three years to do these things. All three
were achieved through networking and using social media. Both my book and the
trip to Australia came about as a result of relationships made through Twitter.
I’m not suggesting that Twitter is the answer for you, but you do need to have a
marketing plan and be prepared for opportunities.
Chapter Nine: Marketing
Photographers love their craft. It is common for a photographer who lands a few
opportunities to conclude that photography is an easy path to income. What
many budding photographers don’t understand is that they will have trouble
making a living if a marketing plan is not in place.
It is important to first define your market. What is your best prospect looking for
and who would be interested in the type of work you create? Is it a just-engaged
woman in her 20s? If so, you must plan your marketing around that demographic.
If you try to be everything to everyone you will find less success.
The best advice I can offer is to test your ideas. Your opinion can cost you
money. Your favorite color, tag line or marketing tool is not always the best to
market your services. Testing is the only way to really know.
Fortunately, there are low-cost methods to test your ideas. One way is to use
Internet advertising, such as Google Adwords and social media polls to gather
data.

32. Google AdWords are connected to your Google account. Although a full
AdWords campaign takes some knowledge and skill, setting up a few ads to test
headlines or ideas is rather easy. Social media sites such as Twitter and
Facebook have applications that allow you to create polls that will offer insightful
answers to your questions.
Next, you need to develop a budget and a plan. The traditional marketing budget
for a business is 10 percent of your company’s gross income. Even if you only
allocate 3 percent or a fixed amount, it is important set a budget before you begin
planning.
I like to use what I call the solar-system method for planning my marketing
strategy. For many photographers, their portfolio and Web site are one in the
same and the center point of their marketing.
In the solar-system strategy, we consider your Web site the Sun. This is where
you sell. Around the Sun are various planets representing different types of
marketing vehicles. The closest-revolving planet to the Sun is the blog. It
represents your personality. Blogging offers the opportunity share a deeper side
of the photographer.
The next group is the inner planets, such as YouTube, Flickr and Vimeo. These
are multimedia sites used to display your content. You can develop relationships
there, but in most cases it is a multi-media tool.
Last are the outer planets. These are social media sites such as Twitter,
Facebook, LinkedIn and Google Plus. This is where you engage with prospects
and develop a community of fans and followers.
The goal is to gradually drive fans and referrals to the center of your solar
system.
You can use this basic framework to include additional digital and traditional
marketing tools.
E-mail marketing is still very powerful. I like to consider it as an asteroid because
it sends people directly to your Web site for the sale. You can also use Google
AdWords or Facebook ads as asteroids to drive relevant traffic. Direct mail would
fit the asteroid category too.
Networking at local events may be aligned with your outer planets as part of
prospecting and relationship-building. Trade-magazine advertising would be one
of your inner planets, because it would display your work.
There are many ways to configure your marketing solar system.

33. It’s about people
Marketing is about connecting with people. It’s about delivering the right
message to the right person. Often, you can partner with other businesses
looking for the same market.
For example, a wedding photographer can partner with a bridal salon. This does
not mean you drop some fliers or business cards in a common area and never
return. You need to learn about the company. Visit the owner and develop a
strategy.
The owner may not be open the first time you connect, but take the time to visit
the establishment (without being a pest). Refer business to her and build a
relationship over time; you will both benefit.
Go to networking events, follow up when you say you will, and make sure
everyone knows that you appreciate them. People make your business grow,
and the more you can do to connect and be prepared to share your story, the
more success you will find.
Take the time to listen. You will be amazed how much information people will
share if you keep your mouth closed, and your ears open.
Leave them wanting more. Don’t let the conversation flow into an awkward
silence. When you notice a conversation slowing, mention how nice it was to
meet them and excuse yourself. If you find a common connection, request a
follow-up meeting at your studio or at a local coffee shop.
I always carry custom portfolio cards with me. We design our cards in Photoshop
and print them in short runs at the local lab. I carry a multi-purpose card and one
for people, food and interior photography prospects.
Make sure that you exchange cards, and ask if you can follow up via social
media.
Chapter Ten: Social Media
Who needs social media?
The social media conversation about your business, industry and market will
continue with or without you.
Before the 20th Century, people communicated by word of mouth. They trusted
friends and people in their community for advice, news and recommendations.

34. During the 20th Century, the mass media developed. It changed the way we
communicate. The idea was, the bigger the audience, the better. An era of one-
way communication was established. The average person lost his voice. One
opinion didn’t count or have much influence beyond her family, friends and
associates.
Newspapers, radio and television dominated the communication channels until
the turn of the 21st Century, when the Internet was established as a common
communication tool. Eventually, improved social communication platforms began
to develop. This gave average people who wished to share their expertise the
opportunity to be heard once again. However, one thing was different: This time,
an individual’s voice can extend well beyond a local town. Now, it extends across
the globe.
Let’s explore how the photographer can use the social media platforms.
Blogs
Blogs are great way for you to take advantage of a search-engine optimization
(SEO) strategy. I will address SEO specifically in a later chapter, but the idea is
that Google cannot read the thousand words your wonderful photographs
represent. But it can read your blog about your photos. A blog helps you present
more information about who you are at a deeper level as a photographer. And
everyone can read it.
Many photographers share information in their blogs that their target market can
use. In some cases the information is used by clients to prepare for photography
assignments.
One popular way photographers use a blog is to share behind-the-scenes
information about interesting assignments. Video is often used for this purpose
with great success.
Facebook
Facebook is an excellent tool for photographers. The ability to tag individuals in a
photograph so they may share your images works as a form of advertising.
Facebook has helped many photographers establish themselves in unique
communities and in specific niches.
Friends and family are an important part of any business. You don’t want to
oversell your services, but keeping people you know well up-to-date on your
activities can lead to great opportunities.
Twitter

35. Twitter is a media stream. I like to consider it “the people’s” AP wire. On Twitter,
share information that you think your target audience will find interesting. You
“follow” people who offer information that you can use to develop your career,
hobby or personal interests.
Everyone’s Twitter stream is different and customized to one’s taste. It is best not
to advertise or push your services on Twitter. It is fine to share your talents and
materials you’ve created online. With that said, there is a rule called signal to
noise. This means you should share at least five things not created by you before
you share something of your own creation.
One of the best activities on Twitter, as well as most social media sites, is to
listen. You can learn a lot.
Don’t expect many direct assignments from Twitter. However, the information you
can apply and the relationships that you can develop on Twitter will support your
photography career.
I can attribute the fulfillment of several major goals directly to relationships
developed on Twitter.
LinkedIn
LinkedIn is more than your online resume. It is all about business. People recruit
and look for new talent through this social network every day. Join a group and
develop relationships with people who will support your career and hire you.
Use Linkedin’s powerful search tool to find people in companies that you know.
The system will share with you names of people you know who can refer you to
your target clients.
LinkedIn is a wealth of data and information. Don’t set it up and forget about it.
Google Plus
Google Plus is another excellent social media stream popular with photographers
that will help you establish yourself as an expert.
One of the benefits of Google Plus is creating circles. The site gives you the
opportunity to send the best message to the right group of people, the people
who care about the type of photography or information you are offering.
Google Plus also offers hangouts, which give the photographer a platform on
which to collaborate with prospects, team members or clients. A hangout is free
video conferencing. The system allows you to have face-to-face discussions with

36. up to ten people. Photographers may also share their computer desktop, Google
docs, and Youtube videos in the hangout space.
YouTube
Many photographers have made their careers sharing videos of their portfolios,
how-to demonstrations and the behind-the-scenes action that takes places
during their assignments.
Video has become more than an option; it is mandatory in social media and
marketing.
Pinterest
This is a visual bookmarking site. If your photographs are shared on Pinterest,
interested parties will be able to click on your photograph. The link will lead to
your Web site, increasing traffic from people interested in your photography.
Quora
Become the expert. Quora is a question-and-answer site, where you can
establish your reputation as a knowledgeable photographer. It is not right for
everyone, but for photographers who like to teach, Quora is a good option.
Flickr
Many photographers develop followings on Flickr and other photo-sharing Web
sites. These sites lead to real opportunities. At the minimum, you can develop
relationships with other photographers and discover new techniques that improve
your photography.
One trick is to share b-roll or out-takes on your Flickr account for bloggers to use
in the Creative Commons (CC). Creative Commons gives people the right to use
your photographs at no charge under guidelines you establish. You can find more
information at http://creativecommons.org/
I use CC to give bloggers the right to use my photographs as a visual element in
their posts. The catch is that they must attribute the photograph to me and link to
my Web sites. This is a valuable tool for search engine optimization (SEO).
Note: It is important to read the terms of service for all social media Web sites.
Many sites have terms that are not favorable to a photographer’s intellectual
property. A photographer needs to weigh the risks and rewards.

37. Chapter Eleven: Search Engine Optimization
One of the best methods to drive traffic to your Web site is through search engine
optimization (SEO). Optimize your Web site so the search engines can easily
understand the content on your webpages. To optimize a Web site, describe what
you do through words on the page as well as through HTML (a Web site
programming language) tags.
Search engine optimization enables people who don’t know who you are to find
you.
Now, please don’t confuse Google. Each Web page is an opportunity to be
found. Make sure each of your Web pages is focused. Don’t place all your
specialties on a single page. If you have three photographic specialties, place
one on each of three separate Web pages. This improves your chances of being
found.
Your title tag should describe what you do and your location. For example:
“Wedding photographer Orlando Florida” or “Food photographer New York.”
Every headline, word, tag and photograph should support your Web page title.
Once your page is optimized, it is all about links, content creation and sharing.
Web page optimization lets Google know what you do, but the search engines let
the rest of the Internet community tell them where to rank you. The number of
links to your Web site plays a major role.
Additional optimized content or webpages on your Web site increases the
opportunity to be found by people searching for what you do. This is why blogs
are so powerful.
Finally, share your information in the social media. Search engines track how
sites are shared. Plus, using social media increases the opportunity for people to
link to your Web site.
There are many things you can do to improve your SEO traffic. If you continually
develop new Web pages and create and attract links to your Web site, you will do
well. Make sure to create a balance of different types of links from various
locations, such as forums, blogs, directories and social media.
SEOmoz.com is one of the top Web sites for learning about SEO. It also contains
helpful tools to check links to your Web site and review the competition.
I also share a lot of information about SEO for photographers on my podcast,
www.roshsillars.com

38. Chapter Twelve: The Combination Code: What is your and?
Technology has lowered the barrier of entry into the world of photography. This
has made it easy for almost anyone with an interest in photo image creation to
develop good skill relatively easily. A lower bar is nice for the masses, but for
those who wish to build a professional career in photography it is a different story.
If everyone can be a photographer, how can the professional compete?
There are many professionals who are making a living purely by photography. It
is still possible. Unfortunately, the ability to create a standard of living equal to
what photographers enjoyed in the past is much harder to achieve.
Many creative professionals, as well as photographers, have discovered the and.
Photography may be the core of what they do, but they have added another
element to their careers to help separate themselves from the competition.
Some professionals have limited the competition by becoming a photographer
and a educator, designer or retoucher. The combinations are endless.
Now and in the future, most photographers will be
* a photographer and a writer
* a photographer and a designer
* a photographer and a teacher
* a photographer and a videographer specializing in a particular niche
Many great companies have been built on existing technologies. The ability to
use creative innovation to combine what already exists has made companies
such as Apple, which has combined cutting-edge technology (which, in many
cases, they did not invent) with design to create some of the best products in the
world, successfully.
The creative professional has two choices. One is to focus on becoming one of
the top 10 percent in their crowded field. The other is to make the competition
virtually irrelevant by blazing your own trail by employing and.
The and is often silent.
When photographers promote themselves it is important to keep a focus and not
promote multiple talents at once or as separate skills. Some photographers have
multiple photographic specialties. The fact remains that a potential client who is
an architect does not want to see a food portfolio mixed in with a presentation.

39. A marketing director many not care that you can write well, although a magazine
or web editor may find your writing skills a plus. Photographers still need to be
purists when it is appropriate and promote and target their combined skills to the
right audiences.
The businesses that are surviving this economic transition are the best in the
world at what they do. Photographers are no different. The purists in any industry
are the top 10 percent of their field. The rest of us need to add the and to our job
title to make a living. The and will help you create a niche that you can dominate.
If done correctly, the and will make competition irrelevant.
There may be only a small community of people who need or desire your
specialized service. Ten years ago, this would have been a problem. It would be
too expensive to research, solicit, and cater to such a small group around the
world. Today, the Internet and social media have removed this barrier.
Warning: Combining price or service as your and is the quickest path to failure.
Being the cheapest option doesn’t work. It’s a race to the bottom for going out of
business. It is fine to include service in your business plan, but if you need to tell
everyone you have great service, you probably do not have great service.
Everyone must start with a core talent. This is your strongest skill. Never stop
learning and challenging yourself to improve your core skill. Once you have great
skill, start to develop your and. Look for patterns of need. Sometimes you will
find your and by accident. For many, it will take some research to find a niche.
Some people have multiple ands, but I recommend you start with one and build
on that.
Your new career is not the job you had before the digital revolution and economic
crisis. If you discover your and, and make a living doing what you love, you have
solved the Combination Code.
Chapter Thirteen: Presentation
A presentation is how you show your work to your prospective clients. Today,
presentations are made online and offline. Presentation is important because it
is often the first impression prospects have of your work.
The Portfolio
In the past, a printed portfolio was mandatory. In the modern digital age, it’s
optional, although some excellent photography consultants would argue this
point. The reason I feel it’s optional is because we now have so many other
options.

40. If you are a family or retail photographer and sell photography-related products
such as photo albums, custom prints and frames, it’s more important to keep
physical presentation materials.
A traditional portfolio is still requested by some design, marketing and advertising
agencies, mostly the larger ones. As important as your photographs are to your
presentation, the physical case plays an important role.
Some photographers build their own cases or portfolios out of wood, leather and/
or steel. A plain black portfolio is acceptable, but the extra effort is often
appreciated by art buyers.
The Web site
When you are ready to take the next step in the presentation of your
photography, be creative. Make sure they remember you.
If a photographer doesn’t have a Web site, she is not in business.
Even if a photography buyer requests a physical portfolio, chances are he will
use the Web to scout your talents. It is estimated that eighty percent of people
looking for a product or service use a search box such as Google to research
and find more information. I suggest it is closer to 95 percent for photography.
When people search for photographs, they generally look for photographers with
a specialty in a specific location. That location may be your state, city or a
popular hall where prestigious weddings are held.
Your Web site must be easy to use. Don’t hide your images. Make sure your
photographs are easy to find. Your Web site should represent your brand and the
spirit of your photography.
Don’t confuse people. Make sure your Web site is focused. Brides don’t want to
see your food photography and architects don’t want to see your senior portraits.
If creating multiple Web sites or sub-domains for each of your specialties is not
practical, make sure you keep your Web site categories focused.
The world is going mobile. Make sure you have a mobile-compatible Web site so
people may view your online portfolio from their smart phone. Another option is
to develop a reactive-design Web site, so the Web page scales properly, based
on the device the viewer is using.

41. Chapter Fourteen: The Future
The future of photography is exciting. It is true that many photographers feel the
industry is hurt by new technology and the digital age. For many photographers,
it was devastating.
Now that everyone can be a photographer, photographers know where they
stand. Anyone with a camera or cellphone is the competition. It can’t get much
more competitive than that.
New technology has also opened up opportunities. Photography buyers are not
confined to the physical world. They need more photographs than ever. Web
sites, social media, applications, online media, and e-books all require more
photography.
The demand for photography will continue to grow. The question is, how will you
set yourself apart and get noticed? Do you have the vision and business skills to
build a career? If you work hard and apply the ideas shared in this book, the
answer will be yes.
Thank you
Thank you for taking an hour of your time to read this e-book. I hope you found
valuable information to support your photography business.
Did I miss something? Yes.
Obviously, you are not going to learn everything you need to know about
photography and building a photography business in a single hour. But this e-
book should have provided you with a foundation of knowledge to get you
started.
Follow up with the additional resources shared in this book, especially in the
areas you find most interesting or where your skills could be sharpened.
Assignments
Here is a list of 20 assignments to help you continue your photographic
education:
Photography Assignments
1. Create a beautiful landscape on a cloudy day with a shallow depth of field.
2. Photograph a pattern.
3. Photograph a stop-action scene.

42. 4. Find a new point of view.
5. Create a silhouette.
6. Find the decisive moment.
7. Depict motion.
8. Take a great blurry photograph.
9. Try a new lighting style.
10. Photograph in a new town or city.
Business Assignments:
1. Create an and.
2. Add up all your expenses and subtract the total from your projected income.
3. Create a price list.
4. Take a successful photographer to lunch.
5. Review your insurance.
6. Make sure your Web site loads quickly and is easy to use.
7. Optimize your Web site for the search engines.
8. Develop an email list.
9. Start a blog.
10. Update your portfolio.