Let’s say you have what you consider to be the minimum amount of gear to begin your adventures into professional photography – a good camera, a couple of quality lenses, and good working knowledge of post-processing. From there, your wish list has grown to epic proportions and includes everything from a back-up camera body to studio lighting and lenses galore. So how do you know what you really need, and in what order do you prioritize your purchases?

1. Ask yourself the right questions.

What kind of a professional photographer do you want to be? Do you want to take studio portraits or work on-location? Do you want to capture landscape or wildlife photography? Are you going to be traveling great distances, or staying close to home? Will you have a home studio or a rented space, or will you be working out of your car? All of these questions are key aspects of discerning what kind of gear you need to prioritize.

2. Protect your client’s photos.

First and foremost, get yourself an external hard drive to back up your photos. Consider backing up your backup, too! Choose a reputable on-line backup resource like Mozy, CrashPlan, or Carbonite. Since you are now going to be providing a service to paying customers, it is ESSENTIAL that your photography projects are stored safely.

3. Get the colors right.

Make sure you are working with a calibrated monitor and printer – you can’t get the colors right for your clients unless you’re working with properly calibrated displays! Purchase color calibration software and tools, and repeat the calibration process occasionally to make sure your colors continue to be accurate.

4. Develop your Essentials Kit.

Your Essentials Kit should include a selection of memory cards, spare batteries, microfiber cloths, lens caps, white balance cards, UV filters, lens hoods, and other odds and ends. Make up a kit for every camera bag you use, plus an additional kit for your storage cabinet. As you use a battery and plug it in to charge, IMMEDIATELY replace it with a charged battery. As you pull out a memory card for post-processing, IMMEDIATELY replace it with a blank one. By doing this you will seriously decrease the odds of being without an essential item when you’re out in the field.

5. Achieve the bare minimum.

Understand the BARE MINIMUM amount of gear you absolutely need to have, and prioritize those purchases over anything else. For instance:

- Portrait Photography: A basic three-light setup is essential, or two lights and a good reflector. The bottom line is, for portrait photography you absolutely need off-camera flash. Buy quality equipment and resist the urge to purchase cheap, flimsy kits. Get a softbox and an umbrella that can act as either a reflector or a shoot-through diffuser. Purchase with an eye toward traveling with your gear, if that is the route you’re going to take. You’ll also need remote transmitter/transceivers, like those you can get from Pocketwizard. Finally, invest in a quality light meter.

- Wedding Photography: Invest in “fast” lenses that work well in low light – get a wide-angle and a medium-length telephoto (such as the oft-recommended 70-200mm f/2.8). Many wedding photographers swear by the “three lens prime kit” – the 28mm, 50mm, and 85mm. Accompany those lenses with a Speedlight or two, which are highly portable and flexible. Have a light stand and a light modifier for each Speedlight, and remote flash triggering. If you have a full-frame camera body, consider a crop-sensor body as your backup (and vice-versa).

- Landscape Photography: You’ll probably want to prioritize lens purchases to make sure you have a full range of focal length capability. Always purchase lenses with an eye towards quality – the better the lens, the better the photos. A backup camera body is also essential to be prepared for any mishaps. Full-sensor cameras are highly recommended for wide-angle landscape photography. You’ll need a rugged tripod, one that is designed to be used out in the field. Finally, you will need a hardy, weather-proof travel case or two in which to store your gear.

- Wildlife Photography: Once you have a quality DSLR in hand, it’s all about the lens when it comes to capturing photos of elusive wildlife. Start with a high quality telephoto zoom lens, then add on with telephoto prime lenses. Get a rugged tripod, one that is capable of resting on uneven ground. Consider a crop-sensor camera body as your backup – they have the added benefit of adding on to the effective focal length of telephoto lenses. Choose a light weight but sturdy weather-proof backpack for your gear.

- Architectural/Real Estate Photography: Prioritize the purchase of an extreme wide-angle lens, or a tilt-shift lens. Choose a couple of portable strobes and battery packs, with enough power to light dim corners and large spaces. Your tripod should have a ball head and spirit level.

- Product Photography: Get a couple of high quality macro lenses – one with a 1:1 ratio and one with more extreme magnification. Powerful light sources are essential, whether they be constant lights for use with light boxes, or studio strobes. Buy light boxes of various sizes, and consider getting something like a Lastolite 7′x8′ HiLite for larger subjects.

6. Take notes.

As you gain experience in your chosen genre of photography, you will quickly learn about what works and what doesn’t work. Take notes on every photo shoot that you perform, with an eye toward simplifying everything from the amount of gear you need, to the amount of time it takes to set everything up. Figure out the gear that you bring but DON’T use, or the gear that you left behind that would have come in handy. As the essentials become obvious, you will continue to re-prioritize your list of gear purchases to suit your circumstances.

Photo credits (in order of appearance):
- “Randi in Wedding Dress” by Walt Stoneburner on Flickr Creative Commons.
- “Monument Valley” by Marco Bellucci on Flickr Creative Commons.
- “Female Great Horned Owl” by Tiffany Joyce.
- “Spiral Stairs” by Icelight on Flickr Creative Commons.

Related posts:

1. Photography Gear Research
2. Stepping Up Your Gear
3. Traveling with your Camera Gear

6. How should I choose which photos to use? – Here comes the hard part. The shots absolutely have to be your best work. That doesn’t mean your favorite work. I would recommend selecting fifty to a hundred of what you consider your best work. Then have a knowledgeable friend or acquaintance help you winnow it down to twenty to thirty. Think about going through this exercise with more than one person; maybe even three or four.

Let’s say you want to pursue portrait photography. I hope you have some experience at this, even if it’s just with one person. Review the images you have and pick out the ones you think are the best. Now, look at the ones the subject selected as their favorites. Now analyze why the subjected selected ones you didn’t. Be diligent in this. The subject is a potential customer. You aren’t. True, not all subjects will be the same, but knowing what the client is looking for and likes is really valuable information. You can’t sell to a client what they don’t like.

You can also try a “trick” I like to use. Once I have decided which 20 or so photos I’m going to use, I put them in the portfolio in the order I think they should go. Then I show the “draft” portfolio to a friend or neighbor and ask for their reaction. Keep in mind that most people are going to respond with comments like, “Oh, that’s a beautiful picture. You must have a great camera.” Of course, that’s not what you’re looking for. Play it cool and ask them which ones they like and why and which ones they don’t like and why. Valuable information. Then ask them if the portfolio would encourage them to hire you as a photographer. If they say yes, I then ask, “When would you like to schedule a time?” Hey, sometimes it works.

When choosing the photos, using portrait photography as an example, use photos of different subjects, different lighting arrangements, different poses, studio shots, outdoor shots, etc. You want to show the client how versatile you are and that you have the ability to take the photos he or she wants.

If your target market consists of mostly middle aged and older adults, a portfolio made up exclusively of beautiful, young, female models isn’t going to gain very much traction. I try to weight the portfolio to the demographics of my target market. However, because older adults may have children and grandchildren, I’ll always have a few photos of attractive young women and men in the portfolio.

7. Is there a certain way I should organize the photos? – Short answer is absolutely. Arrange the photos so they tell a story. If it’s a wedding, arrange the portfolio so that pre-wedding photos are first, then the actual wedding photos, then the formal after wedding photos/portraits, then the reception and lastly, the departure of the newlyweds. This is important. You want the bride to visualize her wedding as she’s reviewing your portfolio. You want her to see herself in the photos.

The first photo the future bride should see when she opens the cover of the portfolio is the bride’s portrait. This sets the mood. Next would be one or two engagement portraits. By doing this you’re making use of the psychology of selling. The bridal portrait sets the client’s frame of mind. Then the engagement portraits set the chronological order of what is to come. I’m sure many very successful wedding photographers use other approaches, but this is what works for me.

8. As I take more and better photos should I replace the old ones? – Some people would recommend that you don’t. You’ve put a lot of work into choosing the photos in your portfolio and arranging them so they tell the story you’re trying to achieve and if you start changing photos haphazardly, you’ll negate much of the work you put in to creating the portfolio.

That said, if I included a photo of the bride and groom cutting the cake and a wedding or two later I captured a much better photo of the bride and groom cutting their cake, I’d replace it without a second thought. I’m from the school that your portfolio should be dynamic and not static. Just make sure you put the same amount of time, thought and effort into choosing the new photos as you did the originals.

9. I think I’m ready to leave the nest but I don’t really have enough images to put together a portfolio. How can I get more? – I’ll use portrait photography as an example again. Photograph your family, the neighbors and friends. Work with them in your studio in exchange for a few electronic images. Let them select the five or six you’re willing to part with and put the images on a flash drive once you’ve finished post-processing them and give them the flash drive at no charge. Let them know that if they want prints you’ll be more than happy to have them produced but that they’ll cost whatever price you want to put on them. I’d suggest enough to cover the cost of the print and maybe 5 or 10% over just so you can make a little profit.

You get practice, they get a few images and everyone’s happy. You may also get that shot or two that you want to use in your portfolio, which was the goal in the first place. Just make sure you get a signed model release.

10. How do I present my portfolio to a potential client? – First, don’t just hand it to them and sit back in your chair holding your breath. Now, this part is easy for me. I’ve been in public speaking in some form or another for most of my life. Large groups don’t bother me and one-on-ones don’t bother me. I don’t have to imagine the audience in their underwear to be able to make my presentation. That is to say that I know this part may be much more difficult for some of you than for others, but here’s what I do.

I much prefer to sit at a table with the client. I hand them the book and immediately begin explaining (making my pitch) before they have a chance to open the cover. That way they know that I’m going to be speaking about the contents. As they turn the pages I give a very brief description of the image they’re viewing. Brief is the keyword. I want them to have an opportunity to ask any questions about the image before they get bored with my talking and with the image. The goal is to make sure they look at the images and to get them to start talking. All the while I’m getting to know them and know what they like.

I would rather photograph models to use for my portfolio. How do I find a model? – I’m so glad you asked that question. That’s the next article which will be available tomorrow.

Photo Credits:

All photos by Rick Marshall of Rick Marshall Photography

Related posts:

1. 10 Tips for Creating a Photography Portfolio – Part 1
2. Five Tips for a Better Portfolio
3. Portfolio Tips

I have been asked why you need a portfolio. The reason is both simple and logical. When you go to interview for a job you would usually take a resume’ with you, right? In photography your portfolio is your resume’ and you should have it with you when you meet with a potential client. The portfolio shows your potential client a lot about you and your abilities as a photographer.

What is a portfolio? A portfolio is a collection of photos taken by the photographer that best presents his or her work. Think of it, for now, as a photo album. A really good photo album, but still an album.

What should you be thinking about when you’re creating or revising your portfolio? Here are a few tips designed to get you on the right track.

1. Focus your portfolio on the work you want – Do you want to be a wedding photographer, portrait photographer, event photographer, commercial photographer or some combination of these and other disciplines. If you want to be a wedding photographer and you’re meeting with a potential client, your portfolio absolutely must be about wedding photography and not filled with photos of your kids and pets. Don’t laugh, I’ve seen it before. Okay, you can laugh. I did. This means that if you want to work in some combination of the above areas you’ll need a portfolio of each area. If I’m looking to hire someone to photograph a high school football team, I’m not going to base my decision on a portfolio of someone’s wedding photos.

2. Should the portfolio be electronic or hard copy? – I think we’re getting closer to the day when electronic portfolios will be the norm. Technological advances like the iPad from Apple are getting us closer to that reality. However, savvy clients will know that there is still a huge difference between how an image looks on a computer screen and how it looks printed on 16×20 paper. I think that today the answer is you should have both. A lot depends on the potential client. If you’re calling on a large corporation that wants a group of company or product photos, you be better off with hard copies of your work. If you having a first meeting with a couple looking for a wedding photographer, I think it would be fine to show them your work on an iPad or similar device and offer to show them prints if they would like to see them. There are very tech savvy people out there that would think you were too old-fashioned if all you have to show is a hard copy portfolio. Welcome to the age of transition.

3. What should the outside of the portfolio look like? – Clearly this only pertains to the hard copy portfolio. Note that I said at the beginning to think of the portfolio as photo album. Always remember, when you hand your portfolio to a potential client for them to review you are saying, “This is me.” (You’re not saying it out loud but that’s what you’re saying.) How do you want to be perceived – as an accomplished professional photographer or someone who sat in their kitchen and cobbled together something that looks like a 10th Grade history report? The physical portfolio represents you and your business. I would seriously consider a leather bound album with pages that are acid free pockets that you slip the photos into. This should be considered as much of an investment in your business as your camera, lenses and lights.

Keep in mind that even great photos poorly presented will be viewed poorly. The potential client will look at your work in the context of the manner in which it’s presented.

4. What size should it be? – Again, it depends on your clientele. Regardless of your clientele, it should contain photographs that are no smaller than 8×10 (20×25 cm) or 8×12 (20×30 cm). Forget 4×6. Yes, 8×10 and larger costs more but again, you want to appear as a professional. I think 8×10 or even 11×14 (28×36 cm) are a great size for a wedding or portrait portfolio. If your sights are set on the commercial and/or corporate market, you may want to consider a larger size.

5. What photos and how many should I include? – This is not Facebook, Flickr, SmugMug or other photo sharing sites although there’s nothing wrong with using those sites with your business name so long as you remember that it’s your business site and not a place for smart phone photos of you and your buddies taken last Saturday night at your favorite bar. The portfolio should contain your very best work. Photos that are going to convince the client to hire you. You could probably get by with ten to start with but twenty or so would be better. I wouldn’t exceed 30. You’re trying to show the client your capabilities as a photographer, not brag about all the photos you’ve taken.

The title of the article is 10 Tips and so far I’ve only discussed the first 5. The problem is as long as this has become, I’m still only skimming the surface. For example, I don’t really discuss what I would call common sense items like if you’re trying to sell your services as a portrait photographer, make sure all the photos in your portfolio have a portrait orientation. Don’t go back and forth from portrait to landscape. If you have both, keep the portrait orientation together and all the landscape orientation together. You don’t want the client having to turn the portfolio book back and forth.

The next 5 tips will be Monday’s article

Photo Credits:

Bletchley Park Photoshoot by db_fotos on Flickr Creative Commons
Portrait by Joe Hsu on Flickr Creative Commons

Related posts:

1. 10 Tips for Creating a Photography Portfolio – Part 2
2. Five Tips for a Better Portfolio
3. Portfolio Tips

This year I set a few personal goals to improve the quality of my photographic work and to broaden my horizons by getting into new areas of photography. One of the new areas I wanted to get into is portraiture so I took a class to at least learn the basics. After the class ended I wanted to try a studio session. Heck, all I needed was a model and a studio. That should be easy. Actually in my case, it turned out to be that way. I have a friend with a studio who was willing to let me “borrow” it and also agreed to be there to assist and teach. For the model, I told a woman at work that I needed a model and for volunteering I would give her the photos. She needed photos so it worked out perfectly for both of us and we had the studio session.

I am amazed at how much I learned during that experience and I thought I would share some of what I learned here.

First, I think it’s a lot easier if you know the person you’re photographing. When you know each other, the session is much more relaxed. You don’t have to be friends, but I think it would be difficult to meet someone for the first time and start shooting five minutes later. Because of this, I made a rule for myself.

If you’re going to take portrait photos of someone, sit down with them a few days beforehand. Talk about what kind of shots they want. What they’re comfortable with and uncomfortable with. Ask them what they like about their appearance and what they don’t like. Talk about what they want to wear – I suggest three or four different outfits of different colors. Make suggestions about certain poses and shots and observe and listen to their reaction. Find out what makes them smile and/or laugh.

The model I used for this session also works as a wedding planner on the side and needed a head and shoulders shot to use on her website. This is the image she selected for her website.

When you schedule the session, allow sufficient time to capture the images you both want. We spent two hours in the studio. I don’t expect every session to last that long but it is important to capture enough images for the subject to be able to browse through them and decide what they like.

Don’t be afraid to experiment if the client is willing. We discussed these two shots on a couple of occasions prior to the day at the studio. These aren’t images that she will use on her website, but she really likes them as do I. Had we not stepped a little outside the box, neither of us would have these images.

As the photographer, you know what the pose looks like and it’s up to you to have the client tilt their head, lower their chin, turn their shoulders, etc. so that the image is flattering. Otherwise, you won’t sell many photos and you won’t get referrals. That said, don’t be afraid to let the client pose the way they want to. They’ve seen images of other people and have probably seen some they would like to have of themselves. The worst thing that can happen is the image doesn’t turn out and you delete it.

Try both “high key” and “low key” shots. Don’t take all the images with the same background and lighting. Give the client a variety of images to choose from. Hopefully they’ll buy four from group A, three from group B and six from group C. Without changing the backdrop and the lighting you may only sell four from group A.

Have fun capturing the images. Your client will pick up on your mood and personality. If you’re having fun, it is highly likely that your client is also having fun. If they are, they may want to do it again and they’ll tell their friends what a good experience it was.

What was the result of the session? Out of approximately 100 images I took that day, my model selected the six I included with this article. There are a few others that I really like that may show up here someday or in my Flickr account. Best of all, another person at work who knows both of us and has seen the photos has asked me to take photos of him and his family.

How do you become a professional photographer? Study, observe, listen, research, practice and sometimes a little luck can help.

The fault for a bad portrait lies solely on the shoulders of the photographer. The credit for a good portrait is 50/50 the subject and the photographer. – Rick Lang

Photo Credits (all) – Steve Russell

Related posts:

1. Studio Session -Technical Aspects
2. Studio Backdrops/Backgrounds
3. Review: Renting A Studio (Roharik Productions)

A couple of weeks ago I was hired to visit the home of a client and take photos of her teenage daughter and her daughter’s friends. Doing a photo shoot at a private home is significantly different than a shoot in a studio, so I thought I would share a few key learnings from my experience.

One – Look for the light. Since this was in a person’s home, and not in a studio, lighting was hard to anticipate ahead of time. I asked for a tour of the house, and noted the northward-facing windows. I took a few test shots and reviewed the exposure, and I also requested that some shades be opened to let more natural light into some of the areas in which we were planning on shooting.

Two – Ask permission before making changes. Or, before climbing around on furniture. In a couple of shots I needed to move some furniture out of the way, which the homeowner happily accommodated. In another set of shots I needed to gain some elevation, so I asked if I could stand on the fireplace hearth.

Three – Converse with your clients before you start shooting, and keep up the communication throughout the entire session. The three teenage girls I worked with had specific goals in mind for the shots they were looking for, and were also willing to accept several ideas that I had. We talked about their outfit changes, indoor shots and outdoor shots, and even included the family pets in a couple of photographs.

Four – Rearrange the subjects within the same context of the shot. For most of the shots where the girls were arranged in a trio, I rotated the girls around so that each of them had a chance to be in the center. I also made sure to take several individual shots of each girl. Finally, I took similarly posed shots, one set in which the girls assumed serious expressions, and the other set in which they were smiling for the camera.

Five – Pack your gear in preparation for any circumstances. I packed all of my lenses, my tripod, and my cleaning supplies. Though I didn’t anticipate being more than two or three hours (and I’d fully charged everything the night before), I packed backup batteries. In hindsight, I would have purchased a few reflectors and brought those along as well (this one is on my wish list).

Six – At the end of the shoot, take notes. Write down what worked and what didn’t work. Think about what you would do differently next time. It’s a good idea to keep a notebook or a file for each assignment so you can go back and refer to details you may forget over time.

What tips and tricks have you learned in the process of shooting professionally? Feel free to share them in the comments!

Related posts:

1. Review – Light It, Shoot It, Retouch It
2. What To Shoot When There’s Nothing To Shoot
3. Some HDR Learnings

Looking to improve your photography portfolio? Take advantage of these tips:

One – If you’re directing folks to an on-line portfolio, try to provide a unique, personal site instead of a photo repository site like Flickr or Shutterfly. In that way you can really showcase your work, without all of the background distractions. It is incredibly easy to set up a personal portfolio website, with very little knowledge of website development. I personally use WordPress for my portfolio. They have free site templates specifically for displaying photographs. Similar capabilities are provided by Blogger as well.

Two – Keep adding content. Each time you download and post-process your shots, look at them with an eye toward adding to your portfolio. Some folks might argue that there is such a thing as having too many photos in your portfolio – I’m not one of them. Keep in mind, though, that quantity does NOT equal quality, so no matter how many photos you include, make sure they’re your best. You may just find as you add photos, and continue to improve upon your talents, that the pictures you included in the past no longer pass your own personal muster. So as you add, don’t be afraid to remove, either.

Three – Look for gaps. Do you have a ton of landscapes, but only a few portraits? Have you thoroughly explored your abilities in macro photography, but left action shots unexplored? Even if you are specializing in a certain type of photography, don’t be afraid to branch out and investigate other avenues and genres. It can only help in your professional efforts to demonstrate flexibility in your talents.

Four – Despite what I said in number three, if you do specialize in a certain area of photography, customize your portfolio to suit the type of clients you are trying to attract. There’s no law that says that you can only posses one portfolio! If you’re a wedding photographer, your client isn’t going to necessarily be interested in your fantastic shot of the Grand Canyon. Unless photographing the wedding at its edge is part of the services you provide. That just branches off into a discussion of how it’s important in a case like that to be good at photographing both people and places, which will cause me to digress, and so I won’t. Yet.

Five – Get feedback. Before providing your portfolio to potential clients, show it to friends and family. Show it to other photographers. Show it to people that you trust to be truthful and helpful. Solicit honest reactions and opinions, and accept any criticism with an attitude toward improving your portfolio.

For more information, read my previous article on portfolio tips. Do you have any tips of your own to share? Feel free to let us know in the comments!

Photo credits (all): Tiffany Joyce.

Related posts:

1. Portfolio Tips
2. 10 Tips for Creating a Photography Portfolio – Part 1
3. 10 Tips for Creating a Photography Portfolio – Part 2

Are you interested in going pro with your photography? One of the first things that you’ll need to learn is how to write a comprehensive proposal. Having a proposal for any photography work to be conducted protects both the photographer and the client from miscommunication, scope creep, copyright issues, and legal mishap.

So what sort of things should the proposal include?

Introduction – The proposal needs to begin with a brief description of the work to be performed, and the person who will be expected to perform the work. It should include the anticipated start date as well as the date by which the proposal should be accepted.

Example: “Proposal from [photographer's name] for [client's name] for the provision of photographic services enumerated below. Anticipated project date is [date] – proposal must be accepted no later than [date] in order to hold the quoted fees and reserve the schedule.

Detailed Project Description – Here the proposal should go into quite specific detail about the photography services being provided. This should include the amount of time it is anticipated that the project will take to complete, the equipment to be used, what the photographer is expected to provide, and what the client is expected to provide.

Example: “One-day, in-home photography session with multiple subjects/multiple outfits/multiple poses. Session will last up to three hours with an in-person or telephone consultation scheduled one week prior to session. Session will use natural lighting (external light sources/off-camera flash not provided by the photographer); various photographic equipment provided by the photographer and used at the photographer’s discretion; backdrops and/or staging to be provided by homeowners.”

Project Outcome – This section describes what the output of the project will be. This can include how many prints at different sizes, a minimum and/or maximum amount of digital pictures, and any post-processing expectations. This should also include the timeframe in which the photographer has to provide the expected product.

Example: “At least twenty, and up to fifty, digital photographs (JPEG format) will be provided to the client on a CD/DVD within one week after the photo session. All images will be retouched, if necessary, in order to achieve the quality desired, but will otherwise be free of effects. Client can choose up to five images for post-processing effects (black and white, vintage, etc.). Delivery of effect-applied images is within one week of client providing list of desired images to photographer.”

Estimated Charges and Fees – A schedule of fees should include hourly rates, per-image rates, post-processing fees, creative fees, fees for assistants, travel/mileage fees, model fees, special equipment fees, fulfillment charges, taxes, usage fees, contingency fees, and the like. It should total up the final cost for the project, and also include payment terms. If you are providing certain services for free, it often helps to list what those services are to further attract the client to your work.

Example:
- 3-hour photography session $150.00, payment due on day of session (cash or personal check)
- Post processing fee WAIVED
- Additional image fee ($2.00 for each image over 20) WAIVED

Project Modifications – Spell out in specific terms how any proposed modifications to the project will be handled. This will definitely assist in controlling “scope creep”, in which you find the scope of the project increasing in an uncontrolled manner. These modifications can cover those that the client suggests, those that the photographer suggests, and how both will handle unforeseeable circumstances should they occur.

Example: “Project modifications will be addressed in the following manner:
a. Client requested modifications that increase costs will be negotiated, and payment terms finalized, before any work is performed.
b. Client requested modifications that decrease costs will be reimbursed to the client within ten days of the work performed.
c. Photographer requested modifications that increase costs and associated payment terms will be discussed and approved or disapproved by the client prior to any work performed.
d. Photographer requested modifications that decrease costs will be discussed and approved or disapproved by the client prior to any work performed, and discounted from the project price and final payment total.
e. Unforeseen occurrences that affect the project (weather, sickness, client location that is not ready or as described, etc.) will be discussed and negotiated as they occur. Photographer will be held harmless from any inconvenience caused by unforeseen circumstances.”

Rights to Images/Work – You must state within the proposal the ownership of the images that you will be shooting. Make sure you also clearly state that you are performing the project as an Independent Contractor, and that work is NOT being performed as Work For Hire. This effects the legalities of copyright ownership should the work ever come into question.

Example: “All photographs are the copyright of [photographer], and will be released to the client for their personal use. No commercial reuse of the images is permitted without express written permission by [photographer]. Client agrees to allow images for use at the discretion of [photographer] (portfolio, advertisement, etc.). This project is being undertaken as an Independent Contractor and is not being performed as Work For Hire.”

Conclusion – Wrap up the proposal by thanking the client for their interest in your services, and provide contact information should they have any questions about the proposal.

Example: “Thank you very much for your interest in [photographer], and for the opportunity to submit this proposal for your review. Please feel free to contact me for any additional information, at [phone number] or [e-mail address]. Upon approval of this scope of work, please sign below and indicate your agreement for services based upon the contents of this proposal.”

Other things to consider – Be sure to use a professional layout for the proposal, with a dated title page. Place the proposal in a report binder or cover to add to the overall presentation and impression of professionalism. Also, be sure to follow up with the prospective client in a timely manner – perhaps about a week after providing the proposal. This demonstrates your continued interest in working on the project they have in mind. Once the proposal has been accepted, the work performed, and the final output provided, be sure to contact them again to thank them for the opportunity to work with them.

Do you have any suggestions for a quality photography proposal, or do you have any experiences to share regarding writing and/or receiving a proposal? Please tell us about them in the comments!

Photo credit: Tiffany Joyce.

Related posts:

1. Earn Money With Digital Photography – Promote Your Skills
2. An Introduction to Stock Photography
3. Five Tips for a Better Portfolio

I’m going to ask you all a brief, seemingly simple question, and I’d like you all to take a moment to really ponder your answer.

What are your goals, in relation to photography?

I myself paused for a moment, after typing that line. I don’t believe I’ve often thought about the specifics of having a photography goal. Other than the nebulous, “Learn everything I can,” I tend to just “wing it”. I pick up skills when and where I have a need or an interest. This method has certainly served me well enough in the past, but occasionally I find myself with a niggling feeling of possessing just a surface-level “expertise” in this field that I love. I have a broad and general understanding, well enough to take decent photographs that require a minimum of post-processing. I know how to get the kind of shot I’m looking for under most conditions and circumstances. I understand concepts and terminology. I’ve reached a point in my skill-set, now, that I am ready to branch out and expand; to become more specific and goal-oriented in my photography pursuits.

So, how does one go about setting a goal? The concept seems easier and more intuitive than it actually is. Here is how I, personally, go about it.

Set your sights on the short term first. Having a goal that is attainable within a short period of time will encourage you to continue in your efforts. It will also assist you in determining your next steps, and help clarify which aspects of photography you enjoy, which seem more of a chore, and which direction you’d like to go in. Allow this short-term goal to be about what you enjoy doing, not what you think you “should” be doing at this stage. My personal short-term ambition is to create a physical portfolio of what I consider to be my best work – something that can be held in my hands, rather than the on-line portfolio I currently possess. This goal stems from a recent evening of going over old family photographs (VERY old, some dating back to the 1800′s), and recalling how much I enjoy holding the photographs and albums. I’ve come to realize that almost all of the photos I’ve taken in the past six or seven years are all digital – the joy of a physical print is something I’ve forgotten, and wish to attain once again.

Next, understand your long-term ambition. It could be that ambition is to enter your photographs in contests, or to see them hanging in a gallery, or to host an intimate viewing among friends. Perhaps you just want to organize attractive albums or scrapbooks. Maybe you’d like a photography-centric website to which you could direct family and friends. Or it could be that your ambitions lean toward becoming a professional photographer in a specific field. Whatever your dream is, it belongs to YOU and is the heart and soul of your ambition. My personal long-term goal is to have one of my photographs published in a magazine or book – I plan to enter some photography contests such as the sort offered by Popular Photography Magazine, and see where that takes me. I imagine the thrill it would give me to open the glossy pages and see MY creation within. What a moment that would be!

Plan frequent photography projects. Similar to short-term goal setting, planning photography projects helps you to remain challenged and keeps you moving forward toward your goals. I am planning an upcoming article specifically about photography projects – essentially, the intent is to choose a subject or a skill that interests you and expands upon your photography skill-set. I myself plan to schedule some family portrait sessions – it’s time we had some updated family photos, and portraiture is one field that I have explored only a very little.

Find your specialty, or niche. What is it, exactly, that you love to take pictures of? Do you find yourself longing to be outdoors, or are you constantly tweaking your indoor studio? Do you see a face and just have to photograph it, or do you have a collection of a thousand sunsets? Do you lean toward the abstract, or do you see artistry in still life and carefully arranged subjects? Consider which photographs in your possession make you the happiest, then pursue perfecting that type of photography. For me, those photographs are landscapes and architecture. When I browse through my Flickr sets, those are the predominant types of photographs, and the ones that I am most frequently pleased with. I plan on improving upon my technique by doing some early morning and early evening photography sessions at nearby landmarks – it seems to me that I keep happening upon places when the sun is high in the sky, and I want to push myself to hit the “sweet spot” in natural lighting.

Try out some new gear. See the world through a different lens, or a different type of camera altogether. Breaking away from what is familiar will help you to discover the gaps in your education and understanding of photography. Personally, thought I am an avid Canon fan, I plan to try out some Nikon cameras and lenses just to get a better understanding of the differences between the two brands.

I hope these suggestions have helped you to understand your own photography goals. I would love to hear about your ambitions and tips – please tell us about them in the comments! For further excellent reading on setting goals, please check out this article by Thom Hogan.

Photo credits (in order of appearance):
- “Please don’t blow!” by Amaynez on Flickr Creative Commons.
- “Landscape” by Ricksmit on Flickr Creative Commons.

Related posts:

1. Set Your Goals for 2011
2. Ten Photography Goals for 2012
3. Twelve Goals for 2012

In this article we’re going to talk about promoting your photography skills.

Create a portfolio – The first important step in selling your photographs is to establish a portfolio. Create a collection of the work that you are the most proud of, or that is the most applicable to the type of photography you will be performing (portraits, product photography, interiors, etc.). I have written an article on how to develop a portfolio here.

Establish rates – Next you need to figure out how much you’re going to charge people. This can be tricky – charge too little and your work is undervalued; charge too much and you’ll be passed over for a photographer who is less expensive. Conduct some research into what kind of rates the industry currently supports. Review the rates of your local competition or photographers in your type of genre, and weigh their rates against how much you need to make per hour, per project, per photo, etc.

Get business cards – When people see you with a camera, they tend to be interested in your work. Most of my “advertisement” has come from people who have attended the events and venues that I am photographing. They ask me who I am and what I do, and I am able to produce a business card that has all of my contact information and website URL. Word of mouth is a powerful tool in the photography industry, so make sure you’re prepared at a moment’s notice to get your name out there!

Volunteer your services for free – Experience and practice are vital to garnering customers for your photography business. You don’t want to go in cold to your first “gig”, so gather some experience by volunteering for some photography projects for free. This will allow you to gain the experience you need, bulk up your portfolio, and establish potential future paying customers. Ask friends and family members to pose for portraits. Attend events and venues similar to those whose business you’d like to receive. Offer free examples of your work on CD’s or in print to showcase your talents.

Buy some basic gear – In order to be sure that you’ll be ready for whatever requirements come your way during your photo shoots, be sure that you have some basic gear to get you by. A good prime lens, a fast telephoto lens, a quality wide angle lens, and a quality macro lens are a good starting collection. Also consider a softbox for portable lighting, neutral colored drapes or drop-cloths for backgrounds, a tripod, a remote shutter release, and a remote off-camera flash.

Get the word out – The final concern is how to get the word out about your photographs. You can’t sell anything if people don’t know about your work, right? Consider printing and framing some of your photos – put them in your own home for your friends and family to see, or give them as gifts to friends and family members, so that they will be seen by their own visitors. Approach local establishments (businesses, restaurants, libraries, etc.), and ask them if they will allow you to hang your work on their walls. Often, if it’s of no cost to them, a business owner will be happy to showcase quality work and decorate their store or office. Be sure you leave some method of contact – a business card tucked inside the frame, for instance – and make it clear that the photos on the walls are for sale, and that there’s plenty more where they came from!

It’s an exciting and daunting thought, to go professional with your photography skills. I hope this article has assisted you in your goals. Good luck!

Photo credits (all): Tiffany Joyce.

Related posts:

1. 10 Tips for Creating a Photography Portfolio – Part 1
2. Portfolio Tips
3. Five Tips for a Better Portfolio

Hello friends! I thought I’d let you know about some things that are in the works for upcoming entries, as well as some things that are happening elsewhere on the subject of photography.

First up, I am in possession of my copy of Scott Kelby’s new workbook/DVD combo, Photo Recipes Live: Behind the Scenes: Your Guide to Today’s Most Popular Lighting Techniques. I will be reviewing this product in an entry later this week. I’m quite enthusiastic about it, as it seems to be an excellent teaching tool for learning natural and artificial lighting techniques. It certainly has been well received in the industry.

I am also working with the wonderful folks at Pro Photo Rental to get my hands on various lenses and give you guys some great lens reviews. This will be a regular feature here at Beyond Megapixels, so if you have specific lens review requests, let me know. I am receiving two Canon lenses – an EF-S 17-55 f/2.8 IS and an EF 24-70 f/2.8L and will be putting them through their paces next week.

Next, I’d like to let you know that I’ve posted a few guest entries at other photography sites:

• The Digital Photography School accepted my contribution for Metering Modes Explained, which I hope you will all find to be informative and educational.
• Your Photo Tips published my article about Earning Money With Digital Photography – Sell Your Photos. This article talks about ways to sell your pictures, on-line and in person.
• For our Spanish speaking readers, I have been translated! I was excited about this, let me tell you. Fotomaf published my article about Tips for Shooting Group Portraits, and also my article titled Photography’s Going Green, which is about how photography is becoming environmentally friendly.

Finally, here are some great articles that I’ve come across in the past couple of weeks, written by our colleagues elsewhere:

• Scott Bourne at PhotoFocus explains his take on Why Nikon as Video Cam Doesn’t Stand Up to Canon as Video Cam.
• Running From Camera was recently featured by Popular Photography, and I’ve got to say it’s a great idea – one that I’m going to try out myself sometime soon! The concept is just as it sounds – take pictures of yourself running away from the camera!
• Speaking of Popular Photography, they recently published a great article titled Getting Great Shots in Harsh Light. You can still take great pictures, even at high noon!
• DigitalRev posted an article on a subject that has always been a bit confusing to me – My Sensor Is Bigger Than Yours – The Truth About Sensor Sizes. I found it to be very helpful!

Photo Credit – “Project Spectrum Outdoors” by LollyKnit on Flickr Creative Commons.

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1. Upcoming and Elsewhere
2. Upcoming and Elsewhere
3. Happy Valentine’s Day, and Elsewhere