Elizabeth May Photography

Ultramarine

2012-02-01T14:20:00.000-08:00

January, 2012.

Finding Your Unique Photography Style

2012-01-26T09:51:00.000-08:00

Think of your favourite photographer. Would you recognize that person's work anywhere? If you stumbled across a photograph on another blog, would you simply know, with some certainty, that it was something that photographer took?

Tetons and the Snake River, by Ansel Adams

Think of how your favourite artist takes a photograph. The colours, the contrasts, the angles, how they capture a subject. The continuity in their work. This is all part of photographer's style. These are the aspects that make an artist's work unique and wholly individual, and perhaps most importantly, identifiable.

Family Pictures, 1984-1991, by Sally Mann

One of the first things many new photographers do is attempt to imitate other artists' styles. This is a common way of learning. After all, it's the artists we respect and admire that might give us the inspiration to pick up the camera, to continue learning, to grow and improve. Perhaps they spurn thoughts of, I wish I could take photos like that. Or even, I hope I can be that good someday. Those styles speak to us on a private, creative level.

David Lynch and Isabella Rossellini, by Helmut Newton

But, you see, an artist's "style," isn't something that simply exists from the moment they pick up a camera. It is developed over time. It changes, sometimes in subtle shifts, and sometimes in more accelerated ways. Because, ultimately, our styles are an extension of our personalities. They are an extension of how we view the world, how we view people, and the things we find beautiful. All of these aspects can shift depending on our experiences, emotions, or circumstance.

Jerry Uelsmann

While imitation might help in introducing an artist to a medium, style develops from taking what we've learned and making it more personal. Style develops not from, how can I make my photo look like this photo I admire, but from focusing on ourselves. From making photographs an extension of how we see the world on an individual level.

Betty Low, 1936, by Yousuf Karsh

Artistic expression is not limited by equipment. Indeed, the equipment we use are simply tools to capture a small moment of world view, a little piece of ourselves. And sometimes, the more limited we are, the more inventive we are forced to become, and the more challenged we are to simply create. To make that piece of ourselves visible to the world.

Heronwood: The Secret Garden, by Willie Anne Wright. Taken with a pinhole camera.

Finding your style is about being fearless. Don't be afraid to take bad photos. Don't be afraid to work with a camera that isn't the one your favourite photographer has. Don't be afraid to try new things and take your camera on the street and snap snap snap. Don't be afraid to fail. Don't let yourself be limited by all the things you assume you need.

All you need is you, and your camera.

Seaglass

2012-01-23T05:40:00.000-08:00

Aberdour, Scotland.
January, 2012.

Covers

2011-12-24T04:04:00.000-08:00

Client: Walker Books

Client: Hodder Children's Books

Life Eternal

2011-12-19T09:07:00.001-08:00

Client: Usborne Publishing

Mist

2011-12-08T09:36:00.000-08:00

Scotland, 2010.

Wander

2011-11-27T10:22:00.000-08:00

Self portrait, November.

Loch Lomond

2011-11-23T02:52:00.000-08:00

October, 2011.

Skin

2011-11-01T11:47:00.000-07:00

Models: Andrea and Justen Phelps

MUA: Danielle Bee

Shadows and Lace

2011-10-22T06:54:00.000-07:00

Model: Shawna Daly
Wardrobe: Karen Deputy
MUA: Sayuri Mitsumori

The Mammoth Book of Gorgeous Guys

2011-10-17T07:14:00.000-07:00

A while ago, I was asked to contribute to a photo book published by Constable and Robinson, and edited by the wonderful Barbara Cardy, called The Mammoth Book of Gorgeous Guys.

I love photo books. The ones that I have are never neglected. I never tire of looking at the photographs inside and always manage to find new favourites or see them in a different way each time. There are plenty that pay attention to the female form, but not many that do the same for men. I was honored to be among the photographers to contribute to this book.

I just received my copy in the post, and printing of this book is utterly breathtaking.

The pages have a lovely gloss, so each image is displayed in stunning, high quality. I've never seen my photos in this kind of format and I was in awe of the result.

45 other photographers contributed their images, and the collection itself is more lovely than I could have imagined. It is truly a unique photo book that I'm proud to be a part of.

If you're interested in owning your own copy of The Mammoth Book of Gorgeous Guys, it can be purchased directly from the publisher at this link: http://www.constablerobinson.com/?section=books&book=the_mammoth_book_of_gorgeous_guys_9781849013741_paperback

And for those in the US, it's on Book Depository (with free shipping!): http://www.bookdepository.com/Mammoth-Gorgeous-Guys-Barbara-Cardy/9781849013741

And it's also on Amazon for the UK: http://www.amazon.co.uk/Mammoth-Book-Gorgeous-Guys-Photographs/dp/1849013748

Still

2011-10-08T07:52:00.000-07:00

Hyde Park, London.

Flourish

2011-09-30T06:51:00.000-07:00

Some of these can be seen on my website, but I generally don't post an entire set there to save space. So I'm posting the full series here.

Model: Shawna Daly
Wardrobe: Karen Deputy
MUA: Sayuri Mitsumori

Lovelies, you HAVE to be Self-Sufficient.

2011-09-27T05:45:00.000-07:00

And here's a kitten picture, just because.

I love to help emerging photographers. That's part of the reason I created this blog.

When I first branched out beyond snapshots, I certainly sought the wisdom of photographers with more experience -- I read a great many of their blogs, or their books, and a lot of that information helped get me where I am.

But more and more, I receive messages from photographers who ask for things that I cannot possibly give. They want me to code their website so it looks like mine. They want me to tell them precisely how I retouch my photographs. They want me to give them all the steps to success, as if everyone in this business followed some secret formula to get them there.

I can't give those things. Here's the best advice I can possibly provide:

You HAVE to be self-sufficient.

Don't take this to mean: learn everything yourself. That isn't what I'm saying.

What many people may not realize: photography is an awfully lonely business. It takes a great deal of assertiveness to persevere. A photographer has to be the one to build their business from the ground up, by learning their craft, scouting models, contacting agencies or publications, dealing with clients, planning shoots, putting together teams, ect, ect.

Basically, photographers have to be willing to put themselves out into the world. They have to be willing to take crappy pictures, learn to take better pictures, be rejected, and keep going. It's difficult. It's competitive.

Perhaps most importantly: there is no hand holding. You have to be willing to do the bulk of your own research. You have to be willing to self-teach. You have to be willing to try different styles in order to create your own.

And lastly, you cannot be afraid of failure. Photographers tend to promote their successes more than they share their failures -- but I guarantee you, all of them have failed at some point. Every. Single. One. But they were self-sufficient enough to keep going.

So should you be.

Light and Storm

2011-09-23T07:30:00.000-07:00

St. Andrews, Scotland.

Uncanny

2011-09-14T09:05:00.000-07:00

Taken outside of Santa Cruz:

Seaside

2011-08-22T07:47:00.000-07:00

Photos taken with disposable cameras.

2011 website!

2011-07-31T08:13:00.000-07:00

It's now launched with about 98% work from 2011. http://www.elizabethmayphoto.com

Here are some screen shots:

Should You Choose Photography As Your Major?

2011-07-22T06:12:00.000-07:00

Today, I'll be discussing this question:

If I want to be a professional photographer, should I choose photography as my university major (or otherwise attend a photography school)?

I do want to state, for the record, that when I throw in mention of my dissertation on this blog or on my networking sites, it has nothing to do with photography. Photography is not my major. Photography has never been my major. I don't have a degree in photography.

When I was a teenager and had time for an extra elective at uni, I took the level 1 photography class and learned how to shoot, develop, and make prints from film. It was one of the funnest classes I have ever taken, and I spent hours and hours and hours in the darkroom. I even learned how to make pinhole cameras. That class taught me about f-stops and about shutter speeds and ISO and all the technical aspects of photography that I now apply to my work.

But would I advise a photography major if you want to make this your career?

No. I'm sorry, but I don't.

I don't want to disparage anyone who has gone to university for photography. The experiences one can learn through a program are amazing, and students have a lot of resources at their disposal many beginning photographers might not (access to a studio, lighting, props, backdrops, darkrooms, and certain equipment may be provided by the uni).

But being a photographer isn't like being a doctor. Or an engineer. Or a geologist. The advanced degrees necessary to succeed in those fields don't apply here.

What matters in photography are three things: portfolio, marketing, and professionalism.

Clients will ask to see a portfolio, not a degree. A photographer's expertise is defined by the level of skill presented in their work, not how many classes they have taken or whether they can claim a BA. Photographers become successful based on the above three qualities.

Mostly I'm applying this advice to countries like the States, where university isn't cheap. The amount of money spent on a photography major could easily go to equipment or travel. Or money spent to obtain a degree a field where that qualification is justified and necessary for employment.

In photography, talent is your degree. University is an added expense.

The Book Cover Thing

2011-07-07T08:28:00.000-07:00

One of the questions I'm asked very often is: How did you get your photos on book covers? Which, I think, means: How can I get my photos on book covers?

Before I start, here's what you don't do:

1. Don't contact the publisher directly. Please, don't do it. I know that with certain magazines, photographers are encouraged to contact the magazine about editorials -- books are not like this. At all. Publishers don't take photo submissions.

2. Don't contact an author directly. I'm not talking about books that are self published, I'm talking about authors who work under a publisher. They cannot help you. They cannot take your photo and put it on their cover. They often do not get to choose their book covers.

Now that that's out of the way, I'll continue.

I know people get frustrated with me for not providing them with a clear cut answer, and I'm really sorry for it. I can say, if you stick with photography long enough, keep improving, network, network, network, then eventually this happens: jobs fall into your lap!

Really, I promise I'm not doing this to be vague or secretive or mean. Photography is a profession where a portion of the work you receive will be dependent upon the quality of your portfolio. An even larger portion is dependent upon word of mouth (networking!).

But here, I'll tell you the story of me and book covers. (Campfire, marshmallows, and chocolate time!)

At the beginning of 2009, I had to step back and evaluate my goals with photography. Mostly it came right down to a simple matter: I wanted to start earning money. It's a phase a lot of photographers go through -- making the transition from hobbyist photographer to working photographer.

Photographers do this in any number of ways, but I decided I'd start small by selling some of my photos as rights-managed stock. Of course, the best way to do that (if publishing companies aren't already aware of your images) is through a stock photo agency -- I joined Trigger Image in early 2009. I loved the idea of an exclusive, boutique stock agency, and I still do. A few years, and many jobs later, I still add to my stock gallery and I think the agency is brilliant.

But my very first book cover (and many after that) I received because of my gallery on Deviantart. It was for Mills and Boon Australia (more commonly known as Harlequin) for the BLOODLINE cover. The cover designer for Mills and Boon saw my gallery on Deviantart and e-mailed me, expressing interest in one of my images. I had Trigger Image negotiate the contract for me, and voila! I had my very first book cover.

After that, it was word of mouth. I got more covers through Trigger, but also some major publishers who contacted me directly too. Since 2009, I've done approximately ('approximately' because I'm often in the process of being considered for covers, but I don't know if I get them until I receive payment) 20 covers for various publishers all over the world.

That's my story. It's been very, very wild and surreal.

I've definitely had help from the efforts of Trigger Image, but the publishers who have contacted me directly did so through networking.

So when people ask me how to get their photos on book covers, this is all I can tell them. My story differs from other book cover photographers. Some don't offer their work as stock. But I do know that all of them -- all of them -- network. Tirelessly.

LUX Magazine

2011-06-27T09:56:00.000-07:00

Fellow photographer Josefine Jönsson has put together a magazine called LUX. It features some of my work, as well as editorials from other incredibly amazing photographers. I was really honored to be able to contribute to the first issue, so definitely take a look: http://www.josefinejonsson.com/luxmagazine

A Guide to Pricing Your Work

2011-06-20T08:04:00.000-07:00

The other day I wrote a blog entry calling for your photography questions for future entries. Nate B. asked the all important question: How does a photographer set prices for shoots?

Unfortunately, I can't ever give a straight, perfect answer. I can't give you the perfect price range. But I can give some suggestions.

I just want to clarify, first and foremost, that you should consider charging for shoots when:

You have had photoshoots, practiced, and have a decent portfolio under your belt (otherwise known as: TEST, TEST, TEST). Which means you have worked with people, have experience directing them, you know what do do with your camera, and you have some knowledge of retouching. There are few things more aggravating to me than a person who picked up a camera last week and is already quoting prices to people.

By testing, you not only gain knowledge of working with people, but you also start to pick up some of the beginning aspects of the business: becoming more savvy in laying out the precise details of a shoot to models (so they can't make extra demands later), the length of time it takes you both to shoot the photos and retouch them, delivery of photos, marketing and promoting your work, contacting and negotiating people -- the list goes on. TEST, TEST, TEST, then consider charging.

As some of you might have noticed, there are many photographers (especially those in several trades -- portraiture, fashion, weddings, ect) who don't list prices on their websites. Why is this? Because pricing is subject to change. It always is.

Here are some things to consider with pricing your work (by all means, some of this will not apply to all of you; it's just here as Things to Keep in Mind):

What is the VALUE you place on your work? There's this idea that I've found to be pretty accurate with shoots: if you undervalue your work, your clients may undervalue you and your work. These clients may demand more for the lowered cost, and you don't want that. You want to set your shoots at a price that says you're serious about your work, and are looking for serious clients only. If clients are willing to pay your cost, that shows they respect your work enough to pay for it.

What is your MARKET? If you're going into something like fashion photography, you have more leeway with costs. You have stiff competition with photographers who aren't open about pricing. BUT, if you're interested in something like weddings or portraiture (especially in a city/town of residence), the best thing you can do is look at the other photographers in the area and see what they charge.

What is the amount of EFFORT that will go into a shoot? Cost should be dependent upon the amount of resources a shoot requires. It may not be just showing up on the day and snapping the photos. Some shoots may require more prep work -- teams, MUA's, models, wardrobe. What about things the day of? Driving, lighting preparation, service, hours, ect. And don't forget the amount of post work that will be involved. You have to calculate a price that will not only cover your rate, but everything else you need for the shoot and the amount of time that will be involved in the shoot (which includes actual shoot and all of the other stuff).

What will the photos be USED FOR? I'm of the opinion that, unless the shoot is just that elaborate and costly, I would not quote the same price for photos being used at home or in a portfolio than a commercial client. Commercial usage should be at a higher rate because then you've become part of someone's marketing. Your images will be used as a form of promotion.

How IN DEMAND is your work? If you reach a point where you are scheduling work on a consistent (or even chaotic) basis, then do not feel bad about upping your prices. It's simple economics: supply and demand. If you can't keep up with the demand, then up goes your day rate. This is especially true if you start nabbing commercial clients.

What are your EXPENSES? Don't be afraid to calculate your day to day expenses and base a pricing scheme off of that. How much driving are you going to do on the job? What is the cost of your photography equipment? Your retouching? Lighting? Studio? Rent? FOOD? Photography isn't a cheap business, and if you are adamant about earning a living from it, then the cost of your work has to be able to cover your other expenses.

Whatever you do, don't be afraid to accommodate your clients. If it comes right down to it, ask what their budget is and see if you can work something out. If it's not something you can feasibly do, don't be afraid to say, "No," either.

Catalyst

2011-06-18T07:00:00.000-07:00

Luminosity

2011-06-11T10:08:00.000-07:00

UK Cover for FORBIDDEN

2011-06-07T08:27:00.000-07:00

Client: Pan Macmillan

Photography, and the Power of "No"

2011-06-05T08:37:00.000-07:00

(Yes, I have more beautiful vacation photos to show you, but I am so SLOW at processing. Seriously. Sloth speed, that is me. I am guilty.)

So let's see how much sense I make while not being properly caffeinated, shall we?

Look at it! Tis a beautiful word, no? No. NO. I like it. This entry is about NO.

What many people don't realize is that we (most?) photographers start off as pretty sensitive creatures. We carry around our cameras and have discovered we kind of love using them. We take photos and we get this tingly feeling of euphoria because we're creating something that makes us happy. And since that something makes us happy, as beginning photographers, we will pretty much photograph anything and anyone. Flowers, clouds, family members, friends, neighbors. We need the practice.

We get practice. We hone our skill. We get pretty decent. We purchase better equipment. We learn to retouch. We get better models. We want to start being paid for our work.

Here's the thing about photography: It's one of those skills in this world that is in HIGH demand, but there are significant numbers of people unwilling to shell out money for it.

Because photography -- anyone can do it, right? Anyone can get a camera and push the shutter, right?

Sure, anyone can. You can also take your chihuahua's paw and have him push down on the shutter button, too.

Here's a more correct assessment: if just anyone could take great, magnificent photos, then bad photos wouldn't exist.

One of the issues that I've seen a lot of photographers face is this: once it gets around that you're a photographer, it seems to be an open invitation for people to ask for photos. Relatives you haven't spoken to for eight years, distant acquaintances asking you to photograph their wedding, their kid's birthday party, their engagement photos, their prom photos, whatever. It all amounts to the same thing -- which is that they "know" you, so they think you're not going to charge them.

Sure, I've definitely used photography as, say, a birthday or a wedding present for a couple of people. The difference is that I offered. They didn't have to ask.

The thing is, if I said "yes," to every person who wanted a test shoot, or every person who didn't want to pay me to photograph all of the aforementioned events, I would never have time for: 1) the shoots that earn me a little cash to pay for university tuition, 2) any free time for myself, 3) any time to spend with Mr. Elizabeth May, who I very much enjoy spending time with, 4) the time I have to put aside for clients in publications, and 5) that PhD dissertation I should be working on.

I'm sure other photographers have lives too, which is why our test shoots should be done sparingly. They're meant to revive our creativity. They're meant to make us feel artistic. They are not meant to comprise the entirety of a working photographer's time, unless that photographer is building their portfolio.

So here is the lesson every photographer must learn: "No." Learn how to say it. Learn how to say it in the nicest way possible, but you have to learn, or you will be run down and you won't have any damn time to eat.

"No," will save you from shoots that don't benefit you, or your portfolio, or the investment of your time.

"No," will save you from any financial sacrifice on your part for a shoot.

"No," will save you from any rumors being spread that you will photograph anyone and everyone for "free."

"No," will save you from clients who expect something "extra" or too much from you.

"Yes," is for when you are building a portfolio, adding to a portfolio, changing your portfolio, or when there is a financial, artistic, or personal benefit involved. But even then, you still have the right to say "no," whenever you want to.

But remember, perhaps most importantly: "No," will save you from insanity.

Fin.

In Which I Show You Some Vacation Photos

2011-05-28T12:45:00.000-07:00

Halllooo, darling readers. I know, it seemed I had disappeared off the face of the earth for a while. Let me just say, I've been working so hard this month I feel like I haven't had time for much else. I'm glutted, with more than enough photos to update my portfolio, and I'll be so excited when I can finally show you all.

This is all just in time to return to Scotland on Tuesday and get back to my seemingly never ending PhD research. But for now, I'm sitting on my sister's veranda in New Jersey, enjoying having access to a veranda.

Me on the veranda:

I felt that the glasses were appropriate, no?

My view of the veranda:

BLISS!

Anyway, before I left California, I went on a little trip to visit a friend up north. She and I like to go to the Carmel Mission sometimes to write, even though we generally don't get much writing done. I thought I'd blog those photos since they're really the only ones I've gone through.

So behold, the image heavy Carmel entry!

I like to think that Father Serra looks a BIT like a super hero in this statue. It's uncanny, yes?

The Garden where I tend to get no writing done.

And back to writing with me!

Your Daily Dose of Cuteness

2011-04-23T12:09:00.000-07:00

I'm in the States right now, visiting relatives and scheduling some shoots. Coming off such a long hiatus is a relief. I haven't really photographed models since last September, so it's taking some getting used to again.

I'll have a lot of new things to post this month, but until then, just LOOK at the adorable bundles of joy currently wreaking havoc at my parents house:

Into the Garden

2011-04-15T13:05:00.000-07:00

Tips on Working With Models

2011-04-12T09:49:00.000-07:00

Happy models make awesome pictures!

Let's face it: working with models can occasionally be quite nerve wracking, especially if you're new to portraiture. I've worked with dozens of models, and still occasionally get nervous about working with someone new. Every model has their own style and their own expectations of a shoot. A shoot always works best when these two things mesh well with your style and your expectations.

So here are some tips to keep in mind (some of these are for non-agency repped models):

1. When expressing interest in photographing a model, make sure their look works for YOU.
There are many, many beautiful girls who have inquired about testing with me, but don't necessarily fit the kind of look I have in mind for a shoot. If I want to do a fantasy shoot, I'll generally decline a model with tattoos. Or I'll want a girl with longer, more flowing hair. Don't be afraid to be choosy. This is your work, after all.

2. After finding a model, make sure their listed stats and "look" are up to date.
You don't want a model showing up 20 lbs heavier than their profile says (this is really inconvenient if you already have a wardrobe fitted specifically based on their listed stats), or with green hair when all of their photos show a brunette. This isn't as much a problem with agency models, as the agency will generally keep a current record of their model's stats. But with freelance models, make sure their current look fits with your expectations.

3. When arranging a photoshoot with a model, write down everything, so there's no confusion during/after the shoot.
I've noticed the primary issues with photoshoots come from both models and photographers assuming their work ethics are the same. Sometimes, they're not. Which is why this stuff needs to be discussed beforehand. Things to discuss:

How many photos you intend on delivering to the model. You will be shocked at how many expect a) all the photos (unedited), or b) you edit a handful and they say, "that's it?" or, the more surprisingly pleasant c) you edit a handful and they say, "Oh my god, I didn't expect so many." I love the models in c).
How long will those photos take (give her a roundabout time - 1 month, 2 months, or if it's me: even longer because I don't do this stuff full time and I have a degree to earn. So there. If it starts to take longer, ping the model a message. Say life got in the way. Sometimes it just does.)
Whether or not you will be choosing the photos to give the model. Some models expect to be given a sample sheet to have photos of their choice edited. Some photographers prefer to choose. This is up to you, but it's best to let the model know.
Clarify how the photos should be used by the model. Portfolio purposes only, are they allowed to sell prints, whatever.
If you intend on using a model release, the model should know this beforehand. Some models don't want to sign these. Some don't care. You should know what your model thinks of them. (UK Photographers, this usually doesn't apply to you. Mostly, this apples Stateside.)
Ask the model is he/she intends on bringing anyone along. Let her know if you do, too. You don't want to just expect the model and have her show up with a giant boyfriend, giant boyfriend's mother, model's mother, model's aunt, model's sister, and model's sister's infant child. I'm generally good with the model bringing one person along. Any more than that, and then there's too much distraction.
Make sure the model has correct directions.
Exchange mobile numbers in case of emergencies.
Petrol money is also increasingly becoming a squabbling issue between models and photographers, so you should clarify whether or not you are OK to pay your own way (or pay for the model's way), or if both parties are responsible for this on their own.
Who will be providing the wardrobe? You or the model?
Will there be an MUA? Should the model bring make up?
Yes, I know this is a lot of stuff, but no one ever said shoots were easy!

4. Prior to the shoot, make your model feel welcome.
Don't be aloof or shy around your model. The best way to have a great result to a shoot is by getting to know her personality and making her feel comfortable. A distant photographer might make a model feel unsure of herself. And a confident photographer (one who is welcoming, chatty and well prepared) will make the model also feel more confident in the shoot.

5. Be prepared.
Make sure that you have everything you need for the shoot beforehand. Your lights, or your reflectors, any props, wardrobe is all chosen and ready, ect. You don't want to seem ill prepared.

6. During the shoot, be encouraging and helpful, not critical.
At the beginning of a shoot, unless you've worked with the model before, it can generally be a little awkward. Both the model and photographer will be trying to get a feel for how the other works, and sometimes it can make both very nervous. So at the beginning, the model might need a bit more posing direction and encouragement. Don't be silent! You want to talk the model through the beginning, let her know how the shots look, change positions if you have to. Importantly -- compliment her! As the shoot goes on, this will help make the model feel more confident in how the shoot is progressing, and how she's doing. A silent photographer might make the model clam up. A relaxed, assured model will produce beautiful, natural shots.

7. Feed your model!
It's amazing how many photographers get so wrapped up in creating, photographing, posing, ect., that they forget to offer the model something to eat or drink. Modeling is actually quite hard work, and it can be really exhausting, so make sure there's something to eat either before or after the shoot. I usually like to eat afterward, so then everyone can relax and it's a way of winding down. But this tip is also a way of being a good host, and one who is hospitable.

8. Stick to the discussed PLAN.
Don't surprise your model by deviating from what you discussed before the shoot. What you discussed before the shoot is a guideline -- it shows what you're comfortable with and it shows what your model is comfortable with. It's important to ask the model if she wouldn't mind trying something different (perhaps changing up the concept), and seeing what she thinks. This shoot is part of a collaboration, so it's really important that both parties feel a part of the creative process.

9. Ask before touching your model.
I know this seems a silly one, but it's actually quite important, especially if you've never worked with this person before. If you have to make a little adjustment to your model's clothes, or maybe her bra strap is showing and you want to fix it, either ask her to fix it, or say, "Can I fix that strap? It's just a bit distracting," or something. This is just so the model knows your intentions and why you're suddenly pawing at her strap.

10. After the shoot, e-mail your model.
Or Friend her on Facebook, or however else you message people; this is just to let the model know you enjoyed working with her. This opens a line of communication post shoot so either you can plan another one, or for when you get around to sending off her photographs.

Hereafter

2011-04-05T07:47:00.000-07:00

Retouching a Portrait: My Process

2011-03-27T13:48:00.000-07:00

I put a status update on my Facebook Page about blurring skin. Basically, don't do it.

My past with skin blur is full of confusion. Namely, whenever you even attempt to Google skin retouching tutorials, it's always some shmuck telling you to blur, blur, blur. It's very easy to think, "Oh, obviously that's the way to retouch skin." No, no it isn't. It really isn't. What it is: the first step in a portrait looking fake, plasticky, and disastrous. These are people, my dear readers, not dolls.

So I've decided to post a tutorial on my process of retouching. This is a simplified version of my work, obviously, because the amount really depends on the photo. But the skin basics are here.

Click on the images for a larger version.

I began with this picture:

Basically, what you want is an image that isn't too blurry, it's flattering, the lighting is relatively decent, ect. So this is the unretouched image, which I like to think isn't too bad.

First, I begin by retouching the hair. So what I'm going to do is section this tutorial by my own steps.

FIRST STEP: HAIR

What I did was circle the areas I plan to retouch. It's easy to get a lot of flyaway hairs, no matter how good your hair stylist. In an effective retouch, you should learn to identify the flyaways, and remove them in a way that still makes everything look natural. What you don't want is to make the hair so perfect that it looks fake. But you also don't want to have so many of these problem areas that they distract.

The tools I use the most for hair retouching are Spot Removal (Setting on CONTENT AWARE) and the Clone Tool. If you use the Clone Tool, remember to use a soft brush at 0% hardness.

The best advice I can give for hair retouching is to take your time. There are some pictures that will require more work than others, and it can be a long process. The key is to make it look natural. This will require some practice, especially in making your adjustments blend. You don't want to end up with cloned areas that repeat the same pattern.

This is how the retouch turned out when I finished:

I tried to section the hair area off for you, so it's not immediately overwhelming. After I did the top of the hair, I moved down to the midsection:

Again, I've circled all of the problem areas. The areas you have to specifically be careful with are the strands of hair that rest on skin. Take your time when this happens, because you don't want to end up with any patchy looking skin.

And remember, we're just getting rid of anything that distracts. You still want the hair to look natural, and part of what makes hair natural is the occasional stray hair. Use your judgment.

The end result for this section:

Don't be discouraged if you have a bit of difficulty with this to begin with. Hair retouching can be very time consuming, even for advanced retouchers. It takes a lot of time, patience, and practice.

STEP 2: SKIN RETOUCHING

Remember: don't blur the skin texture. You want to keep it intact, so it looks natural. Skin blurring was created to be an easy method to cut time. When it comes to your photos, you don't want to take any shortcuts. This is your work! Time pays off.

Here's the places that tend to have the most issues with skin:

Andrea has incredibly beautiful, clear skin, so most of the areas I'm fixing tend to be: occasional open pores, the tiny bits of facial hair, and some residual makup (generally powder) that tends to show up on camera.

Go through these with a very light hand. You want the skin texture to be there in the end, and you also want the skin to look natural and not patchy. If you end up getting a little too heavy handed, you can always lessen the opacity of your skin layer to 50%, so the effect is reduced.

Tools to use for skin are a combination of: Spot removal, clone tool, healing brush.

Spot Removal is good for: larger pimples, pores, spots.

Clone tool and healing brush are good for: smaller spots and skin patches.

When you edit the skin, ZOOM IN so you're able to get a better view of the skin. But always remember to ZOOM OUT so you get an overall view of the effects.

If you have a model with lots of freckles on her fact, do not -- I repeat, do not -- remove all of the freckles on her face. Freckles are beautiful, natural, and they should stay.

And don't resort to blur. Don't do it! Just take your time.

Here's the finished skin work:

There, we have a very light clean up, texture still intact.

STEP 3: DODGE AND BURN

When a lot of people think of dodge and burn, they mostly think of the photoshop tools. There are, actually, several different methods of "dodging and burning." I like to use 2 curves adjustments layers: one for light, one for dark.

Make adjustment layers by going to: Layer > New Adjustment Layer > Curves.

Why do I use Curves adjustments for dodge and burn? Because you set how light and how dark it gets. When you paint those adjustments in, you can only go as light or dark as you originally set. This can save you from becoming more heavy handed in the effects.

On our LIGHT layer, these are the areas I highlight:

If you generally stick to the places the light is hitting best, those are the areas you want to paint in the LIGHT layer.

So now I'm going to set the adjustment layers -- I did this step by step, just so there's no confusion for the settings:

So here is the LIGHT layer settings being put in. Pull up the curves to whatever suits you. This will depend on the photo, the lighting, and your preferences. After you set the LIGHT layer, go to IMAGE > ADJUSTMENTS > INVERT, so the effect is hidden.

Then the DARK layer:

Again, go to IMAGE > ADJUSTMENTS > INVERT so the effect is hidden. I'm going to keep saying this, because I'm sure there's going to be someone who is confused.

And there, I stated a third time for y'all, just because this won't work without it. If you notice, now our curves layers look black. If they DO NOT look black, you did not invert.

Make sure you have the PAINTBRUSH TOOL selected. Here are the brush/opacity settings for you:

Hardness is at 0%, Opacity is at 20%, flow is at 25%. I tend to keep these three settings the same, just because it creates a nice, light effect. Also, make sure WHITE is your foreground color. If you need to erase an effect you have just made with your paintbrush, make BLACK the foreground setting, and it will erase the adjustment.

Now, select your LIGHT layer. I'm going to be slightly heavy handed here, just so you see the effect a bit better.

So I've painted those areas I put in red before. This is a bit too much, but don't worry if you do this. I'll show you how to blend the effect better in a minute.

These are the areas I tend to adjust on the dark layer:

These are totally based on your preferences. The dark layer is good for darkening eyebrows, make up, cheekbones, and lipstick.

Now, Select your dark layer and begin painting.

Again, I got a bit heavy handed here, just so you see the results better:

If your image turns out a bit overdone like this, don't worry about it. This next step is for blending.

Take note. THIS is the only time I will encourage using the Gaussian Blur effect. The ONLY time.

So click your Light Layer, go to Filter > Adjustments > Gaussian Blur:

Take note: This step is blurring the curves effect. It is NOT blurring the skin. All of the skin texture remains intact. What this step does is blend the adjustments layer better. For the LIGHT layer, I tend to choose about 40% or so.

Now select the dark layer and do the same:

I usually choose about 30% or so for the dark layer. This evens the two layers out better, makes the effect look more natural.

If it STILL comes off as looking a bit heavy handed, you can lessen the opacity on your two layers to bring down the effect.

My end result is this:

So all the skin texture is still there, and this looks a more cleaned up. But we're still not done.

STEP 5: REFINE

This is basically the last clean up I do to complete the image. What you want to do is go over the image, look for any flyaways, or pieces of fuzz, or spots that you might have missed.

Here, I focus on the top of the blouse:

There are some spots and loose threads in there that can easily be cleaned with the spot removal tool.

Then, I do another quick curves adjustment to even out the whole image:

I might pull the curves darker or lighter depending on the image.

After that, I do a round of colour work. I'm not adding that part to the tutorial, because really, thats my own personal flare to the image.

So here is the end result (with slight colour work):

Love Story

2011-03-22T13:14:00.000-07:00

20 Tips on Social Media Etiquette for Photographers

2011-03-08T12:19:00.000-08:00

Let's face it: social media has become vital for photographers. Aside from helping to bring in business, it gives artists a chance to interact with one another, more easily learn from one another, all on a global platform.

Which is precisely why social media etiquette is so important to learn. But, why? Because it helps to maximize impact on these sites. Lack of etiquette creates a tendency to lose followers - and word of mouth is vital in social media and to business.

I would just like to preface that these are suggestions, and I am by no means an expert.

DO :

1. Post links to photographers, artists, photos, blogs, or any other places you admire or frequent. If that person checks their pings, they might be able to track the link, and it can open a dialogue between them and your followers.

2. Interact with your followers. Ask them questions. Create open dialogues with them. I've had people enjoy some of my tweets and I gain followers through their linkbacks.

3. Create a discussion about photoshop/photoshoot techniques. This is a reason some people follow photographers. People are interested in learning.

4. Be polite and professional as possible.

5. Post new work. Keep people interested in what you're doing and how you're progressing.

6. Comment on other accounts. Thoughtful, intelligent comments are more likely to attract viewers, which is more people seeing your work.

7. Try to be consistent in your updates (we'll ignore the fact that I've been AWOL on my blog, due to my hiatus).

8. Try to keep the content consistent. Twitter can generally be a bit out there - it tends to allow for more personal material. But a Facebook page about your photography or a blog about your photography should mostly stick to posts pertaining to photography or topics similar to your work. I try to have a fashion bent in my photos, so I might discuss fashion on my Facebook page. It wouldn't, you know, be the place where I'd link to Chad Vader Youtube videos.

9. Be supportive and encouraging to your followers and their work.

10. Remember to keep your statuses and interactions as intelligible as possible. Shorthand, text speak, writing in all caps, and an abundance of spelling errors reflect on you. You might argue, "I'm a photographer, not a writer," but you're also building a brand. Appearances are incredibly important.

DO NOT :

1. Use social media solely to describe your day. "I did this, and this, and this today, oh and then I got coffee," gets a little tedious to read. Unless, of course, you can find a way to make your daily anecdotes interesting: "Today I drank thoroughly horrible coffee, got bitten by a parakeet, and accidentally dyed all of my clothes Pepto-Bismol pink."

2. Be a walking GPS device. This goes with the above. The Where I Am, and This is What I Am Doing is generally less interesting to followers than it is to the person doing the Doing.

3. Only talk about your own work/clients/accomplishments. While its nice to update followers (after all, these are business accounts), taking the time to share goes a long way.

4. Use your accounts to complain about your clients or your work. This can accomplish two things: 1. your client will see it, and this is not good. 2. A potential client might see it. This is also not good.

5. Bring religious and political debates into your professional account. I'm serious. Very few people care, and those that do will probably be offended at some point. Create a private account for the personal rants. Leave the business account for the businessy stuff.

6. Complain constantly. If every status update is "Woe, bad day," "Woe, sooooo busy," "Woe, woe, woe," then you might have a Woe Is Me Problem.

7. Trash people on your account. This should go without saying.

8. Actually, you know what? Here is a blanket statement: leave the drama out of your professional account.

9. Comment on another photographer or person's account and say, "CHECK OUT MY WORK PLZ." I'm really less inclined to look at work by someone who does this. If a person consistently comments with interesting things to say, I'll generally peek at their stuff.

10. Maintain a myriad of Buy My Things requests. A message about booking shoots, or buying prints, or whatever else is generally fine. But one of the fastest ways to alienate people is to constantly ask them to buy, buy, buy your product.

Editing RAW Files in Adobe Lightroom

2010-11-18T12:39:00.000-08:00

Two things you'll need for this tutorial:

1. Photoshop Lightroom (but these options are also available in Adobe Bridge, which comes with Photoshop)
2. RAW files. No JPEG.

This is probably another entry on the benefits of shooting in RAW. By using Adobe Lightroom or Adobe Bridge, it's much easier to make adjustments to your image and keep all the detail intact. This is not, however, an excuse for poor quality in-camera. I try to get all the settings I need right in camera, so then all I have to do in post is add some personal flare. So I decided on an image where the importance is in the details. (click photos to enlarge)

So here is the image in Lightroom:

Notice there is a lot of foliage in the photo, in addition to the model. It's really important to keep these details intact while I edit the image. This is actually a pretty decent beginning photo, but I'm just going to tweak it a little in the RAW adjustments to focus the attention.

So first, I start with the basics:

I keep the exposure as shot, because I think it's pretty decently even. But I always up the recovery and clarity both to 100%. This is just a personal habit of mine. The recovery takes away much of the damage done by highlights, so it may make the photo a little duller in appearance, but I usually alter that later. For this image, I also brought up the vibrancy to bring out the greens a bit more, but I don't necessarily do this to all the images I edit.

Next is further lighting tweaks:

In this setting, I've brought down the highlights, upped the lights, and darkened the darks and shadows. But if you'll notice, this has also taken away some of the detail in that back foliage. It's made it darker, so it's not easy to see. I'll leave it as is for now, and then I'll bring back the detail later. I've also noted that the foreground of the image is just a touch too bright for my tastes so it's just a bit distracting to the eye, so I'll work on that later as well.

But first, I work on Sharpening:

In a photo like this, the details are important, so I have boosted sharpening all the way, and added a little to radius and detail. Then I boosted the luminance to take away some of the added noise from the sharpening. I do this to these kinds of images, because if you look at the DOF, on the model's plane is the back foliage and the bit of rock. I want the eye to focus on this middle bit, so I want these aspects to be much more sharpened to add a bit of a "3D" effect.

For strict portraiture and close-ups, I probably would not advise this much sharpening. It brings in a lot of unneeded pore detail. So if your lens is already sharp enough, you may not need this option for your close ups. I generally don't use it for close ups with my 85mm.

Next, I do selective darkening/lightening:

For this, you click on the brush in the options, and you can use it to selectively darken and lighten certain portions of the photo. I circled the different pins that represent different parts of the photograph I edited. Each of these pins has different exposure settings.

Notice I lightened the back to bring out more of the foliage, then lightened the top of the model's dress to bring out some of the detail, and then darkened the foreground. This draws the eye to the center of the photograph, where the model is.

Then, I worked just a little bit on the model's skin, just to even it out:

Now her skin is more even, so that's less work to do in Photoshop.

Here's the finished Lightroom image:

It's not completely done, as I would still take it into Photoshop and add a few more adjustments to color and that sort of thing, but it's a really great starting point, and made much easier by being able to edit in RAW. All of this would take much longer for a JPEG file.

Enchanted

2010-11-01T14:47:00.000-07:00

Shiver

2010-10-16T11:23:00.000-07:00

Sleep Apnea

2010-10-06T06:23:00.000-07:00

The Cavern

2010-09-19T11:11:00.000-07:00

The model is Lauren.
Wardrobe by Karen Deputy.

Hale Storm

2010-09-11T12:10:00.000-07:00

Victorian Romance

2010-09-09T13:55:00.000-07:00

Olivia

2010-06-12T13:08:00.000-07:00

The model is Olivia, a very good friend of mine from Switzerland.

Skin

2010-06-05T11:01:00.000-07:00

A self portrait series.

Metamorphosis

2010-05-18T17:16:00.000-07:00

These photos were taken on a walk from North Berwick to Yellowcraigs, Scotland.

Reflections

2010-05-12T13:16:00.000-07:00

Dark Hours

2010-04-15T18:21:00.000-07:00

Passage

2010-04-08T12:23:00.000-07:00

Self portrait series.

London, March 2010

2010-04-02T16:41:00.000-07:00

London Eye and the Aquarium.

Westminster Abbey

Parliament

And while my sister and brother-in-law were on the London Eye, I managed to get some napkin writing done...

My line of vision whilst napkin writing!

I took a lot of pictures on Tower Hill, as well:

View of Tower Bridge

Outside view of the Tower

Which was nice, because this is the sight I was greeted with on the train home. This is outside of Edinburgh (excuse foreground blurriness; I was on the train, after all):

The Secret Life of Trees

2010-03-25T15:47:00.000-07:00

Scotland, UK.

Criterion

2010-03-23T11:19:00.000-07:00

The photos in this series were taken with disposable film cameras.

Anette Schive

2010-03-15T12:41:00.000-07:00

Very talented fellow photographer Miss Anette Schive came to Edinburgh, so I was able to stalk her for a day and chat her ear off. You can view her photographs on her website, Deviantart, and her blog and enjoy them because she's awesome. Also, she let me take pretty pictures of her amid Scottish greenery while we were meandering around.

Alice

2010-03-07T05:02:00.000-08:00

Sand and Sea

2010-03-04T09:25:00.000-08:00

Taken with a disposable film cameras.