The cheapest watch I could find, that was my mission! I decided I wanted to create a magazine advertising image using a really cheap watch, my goal was to replace the luxurious and expensive aspect of the image with a unknown brand but still maintaining that feel of expense and luxury in the final shot, also to focus on the photography and the importance and impact it has on advertising.
So you have just picked up your first light or you have had one light for a while now and you are wondering what more you can create with just that one light, well you can create LOADS. I see many post/comments saying they can’t do that as they only have one light and while it is more efficient using more lights in certain situations it really is quite amazing what you can create with just one, so my best advice is to get out and shoot loads, experiment and fail as many times as you can, because honestly you will learn more this way and the experience gained will stay with you, In this post I will show you just a few ways I have created images with one light, now this is no tutorial more a post on ideas to try . If you want to jump straight to the video for this post click below.
Commercial product lighting is very challenging. Whether you’re shooting stills or video, you never know what type of product you might need to shoot from day to day. It often presents unique challenges for you to overcome, too. Not least of which is satisfying your client’s personal tastes.
I’m a full-time photographer, I take photos for a living. It’s my main source of income. Its how I pay the rent, keep the lights on and put food on the table. The problem when you work for money, specifically when you get paid for your photography, is that you are no longer in full control.
The race to the bottom never seems to end. The latest is a new service claiming to produce marketing photography for as little as $19. Yes, that’s right, photography that normally costs thousands for only nineteen bucks. The service is called Catalog and they’ve raised $1.5 million to kick the business off.
They’re not the only company starting up with a similar model, either. Photographer Daniel Norton discusses these types of services in this video, and how they’re really not a great thing for either the customer nor the photographers who might shoot for them.
If you are currently knocking some doors, searching for opportunities and chasing your dreams as a photographer, you know that it can get tough. You may want to give it all up and just start doing something else. If this is the case, here is some inspiration to keep you going. In this video, Joel Grimes talks about how his first portfolio showing almost caused him to quit. But luckily, he managed to get through the tough times and rejections, and he ended up fulfilling his dream to be a professional photographer. In case you need some encouragement and inspiration right now, this is the story you absolutely must hear.
It’s standard practice for commercial photography clients to ask photographers their ‘day rate’. Most estimates that photographers provide start with a day rate before going on to production costs and expenses.
Now I used to think I could simply take it for granted that anyone involved in the industry would be able to appreciate this isn’t exactly what a photographer or for that matter any independent creative professional working on a short term project earns for every single day of the year.
I’ve realised that the world of photography is in so much flux that this isn’t a safe assumption and now I much prefer to provide a rate for each job. My reasons can be best illustrated with an example.
“Content is king” is what people say. Well, recently I delivered a video clip that was part of a series of clips I produced for a client. I wasn’t 100% proud of it on a technical level. So why did I still deliver it to the client? This was, after all, only one part of a series of clips. I could have delivered all the rest and explained to the client that this one wasn’t quite perfect and so would rather not release it.
I still sent it to the client because I knew that the content in the clip, the story if you would, was very engaging. And if you have a great story and decent audio, I believe you can get away with it if some of the shots aren’t perfect.
First, let me explain why the shots weren’t perfect. This was a corporate shoot and, very often in corporate shoots, you don’t have full control of what and how you’re going to shoot.
If you’ve ever tried to photograph a person underwater, you know how important crystal clear water is to producing usable images.
I do most of my underwater photography in Georgian Bay which is exceptionally clean and clear.
It’s also freezing cold, and far away from urban areas – which complicates the logistics required to produce a commercial photography session (it’s a 3 or 4 hour drive for me and most models, stylists, make up artists etc. and there is a window of about two weeks in August when it’s warm enough to swim without a wet suit).
However, I live right beside Lake Ontario (which is not exactly known for being clean or clear), so I thought I’d try an underwater photography session here – with easy access to talent from Toronto.
In this article I will share a few of my tips and tricks for underwater photography in murky water.
The picturesque town of Positano in Italy is one of the most popular photography destinations in the world. But, if you’re planning a visit and taking photos for commercial purposes, be prepared to pay a pretty expensive fee.
Starting from mid-November, the municipality of Positano is imposing a €1000 (almost $1200) of tax for all photographers who want to capture the town’s panorama for commercial purposes. It will be even worse for videographers, who will need to pay €2000 for the shooting permission.