Critique and Competition in Photography – The Painted Hills in Central Oregon. 

Critique and Competition in Photography

Critique and Competition in Photography - The Painted Hills in Central Oregon.

My son Chris and I took my mom to the Painted Hills this past Sunday. Mom had never been there and was completely stoked by its beauty.

I enjoy taking photo at this location with a long lens. I usually take my 70-200 and shoot little micro scenes of the textures and folds in the hills. I also enjoy the textures of the soil, but I have found that it confuses some people, I'll explain later. On this day I used my Tamron 150-600 G2 and had a great time.

I entered a similar photo to this in a competition once. One of the things that I was gigged for was the texture. I remember that every time that I return to this location. The judge couldn't figure out what the "grain in the foreground" was. I just slapped my forehead and fell back in my chair in dismay. I wanted to yell into the screen that it was coarse soil. I also entered a cool shot of the lava ocean entry and I was gigged due to some "diffusion and lens distortion" that one judge perceived to be an issue. The issue was the steam from the lava. I was taken aback by that one too. All in all I did fairly well in the competition, but after that day I became a bit disillusioned by professional competitions. Their critique gave me no encouragement or advice in how to improve my work, but I suppose that's not the purpose of these competitions anyway.

Call me dumb or closed minded but I got nothing from the critique or comments. I think that competitions are fine, but really, I hate making photography a competition to begin with. I also question the qualifications beyond the certifications of some of those who are judges after the last one that I participated in. I compare them with "book learned" engineers. I'd love to have taken a couple of them out into the field with me and show them how I work.

All of the photographers whom I admire and am inspired by do not enter competitions. For them, I perceive, and I photography isn't about winning. It's not about professional credentials. It's about the experience and inspiring others to follow their dreams and aspirations. I hope that I do this with my own work. In my opinion competitions only encourage the victors.

In the end a photographer's audience will not judge them or their work by the competitions that they win, or the credentials that they earn but, rather, the images that they create that touch their audience in the most personal way, many of which aren't technically perfect. And only you and those who admire what you do can actually honestly judge your work in a positive way.

Critique is fine, but ultimately it's objective. And when the judge's goal is to be critical of the photo, it won't be viewed in the same way as the photographer's fans. And it certainly won't be seen in the same light as the one who created the image.

Create your work for yourself first. Break away from standards that are used to judge photos. That's where creativity and originality starts. If you need advice seek it from someone whom you admire and trust. Take the critique of a stranger, no matter their professional credentials, with less weight than those who are trying to find positive in what you've done. And don't get discouraged.

Critique and Competition in Photography
Critique and Competition in Photography

Photographing Alaska Glaciers and Fjords

Whittier Alaska Tour with Gary Randall Photography

Photographing Alaska Glaciers and Fjords - The gurgling sound of the twin 200 horsepower outboard motors mounted in tandem on the stern of our excursion boat mixed with the sound of camera shutters and the random “ooh and ahh” as we cruised back and forth through the still, ice laden water at the face of the massive wall of glacial ice before us. Once everyone was through photographing this incredible scene our boat captain eased forward on the throttle turning the gurgle to a roar as we left the sheltered cove to head back to where we started this incredible day. Our group of intrepid photographers sat at rest enjoying the views after a full day of cruising the Prince William Sound in the Gulf of Alaska photographing wildlife and the immense, wild remote scenery that surrounded us.

Our day started at our log lodge located near Palmer in the beautiful Matanuska Valley located about an hour northeast of Anchorage. We had a drive to make and a schedule to adhere to as we had to be at the Whittier Tunnel on time to pass through with the regularly scheduled opening that allowed visitors and residents to get to the little town of Whittier located at the other end on the majestic and scenic Prince William Sound. The Anton Anderson Memorial Tunnel, commonly called The Whittier Tunnel, is a tunnel that was made through a mountain between the town of Whittier and the the Seward Highway, which is a major thoroughfare taking traffic to and from the Kenai Peninsula to Alaska’s mainland.

The Whittier Tunnel is a one way, single lane, tunnel 2 ½ miles long. It’s the longest highway tunnel in North America. The roadway includes a set of train tracks to accommodate the Alaska Railroad. The inside of the tunnel is rough rock, almost cave like, and is a bit claustrophobic the first time through, but is a bit exciting nonetheless. There’s a time schedule for opening the tunnel that accommodates the train as well as car and truck traffic in each direction at different times. If you miss your scheduled opening you must wait an hour before it’s open again in your direction.

On this morning our group awoke with adventure on our minds. We all climbed into the van and headed out. We were right on time, although the bathroom break along the way threatened to cause a little concern about catching the tunnel, we made it with time to spare. Our destination this morning was Epic Charters and the boat that we had reserved to take us out into the fjords of the Prince William Sound to photograph not just scenery, but also for the chance to photograph its wildlife.

The day was calm with some overcast skies. The ride out into the sound was calm and exhilarating. The Chugach Mountains surrounding us tower up from the water to reach an average height of 4000-5000 feet with peaks as high as 13,000 feet. Many have majestic glaciers covering their flanks and filling their valleys with some ultimately crumbling into the ocean waters. As we travel along we pass small islands covered with sea lions, rafts, as they’re called, of sea otters and eagles flying overhead while we hope to see orcas on our search for black bears.

Our skipper navigated our boat into a couple small bays, one of which was the location of a remote salmon hatchery where we found at least a dozen or more opportunistic black bears roaming the shore, dipping their paws into the water and dragging out a fish with little challenge. We left there and made our way to another bay where we found several more bears away from man made surroundings, a small group of which consisted of a mother and three cubs hiding in tall grasses on the shoreline. Their heads peeked up every so often just to keep an eye on the boat full of shutterbugs sitting in the water beyond the shoreline.

We left that bay and made our way further into the sound to a little island where we all stepped off of the boat to stretch our legs for a little while before making our way into the incredible Harriman Fjord, a finger off of the sound into the realm of huge hanging and tidewater glaciers. Our boat made it to the face of Surprise Glacier where we floated around taking in the massive mountains and huge flows of glacial ice. Massive waterfalls flowed down huge solid stone walls from the ice fields and hanging glaciers above. The boat slowly cruised through the iceberg filled water, several of which were the size of the boat itself as we observed walls of ice calving into the ocean creating waves that would gently rock the boat as we stood there in amazement of the scene surrounding us.

In time we turned to head back to Whittier. As we skimmed over the calm water we passed by the glaciers in the College Fjord before heading back into deeper water and passage back. The boat’s captain pushed the throttle further and brought the boat up onto a plane as our group sat at the stern watching the scene disappear behind us. As we sat there taking it all in for one last time, and recalling all that had happened on that day, a rainbow appeared behind us as one final parting gift from this spectacular land.

Our group left the pier and our captain as we gathered together to make sure to catch the tunnel scheduled opening for our trip back through and to the Seward Highway for our drive back to the lodge, with one more stop for a meal at the Turnagain Arm Pit, a favorite barbecue restaurant along the way. Once back at the lodge all everyone wanted to do was rest and look at all of their photos from this amazing time. This trip has become a favorite part of our yearly Alaska Adventure tours, but is only one day of the five that we spend photographing Alaska. Each and every day is filled with another incredible experience.

 

 

Turnagain Arm Sunbeams

Turnagain Arm Sunbeams

Turnagain Arm Sunbeams - The Turnagain Arm is a waterway in the Gulf of Alaska and is one of two branches of the Cook inlet, the other being the Knik Arm. It happens to be one of my favorite places for photography.

The Turnagain Arm was named by William Bligh of the HMS Bounty fame who served as the sailing master for Captain James Cook, British Explorer and cartographer, on his third and final voyage on his quest for the Northwest Passage. In the exploration of the Cook Inlet a party was first sent up the Knik Arm only to return reporting that it led to a river. A second party went up the next Arm only to turn back saying that it too was only a river. In their frustration of having to turn back again they named it the Turnagain River, later to be designated an arm of the Cook Inlet, thus the Turnagain Arm.

The Turnagain Arm's geography affects the weather in dramatic ways. On the south side of the waterway lies the Kenai Peninsula with its mountain peaks averaging 3000'-5000' while on the opposite side rise the Chugach Mountain Range with peaks comparable in size to the Kenai Mountains but, because of their position to the Cook Inlet set world records for snowfall with averages 1500 cm (800 in). With the waterway between the weather can be intense, and the sun being low on the horizon most all seasons, the light is incredible an inordinate amount of times throughout the year.

Another unique part of exploring the Turnagain Arm is it's bore tide. A bore tide happens only in a small handful of places around the world. A bore tide is a tidal phenomenon where the incoming tidal flow meets an outgoing flow of the bay or a river. The leading edge forms a wave that travels up the arm on the incoming tides. It's always fun to go to the Turnagain Arm and chase the bore tide.

We always make the Turnagain Arm a primary feature of our Alaska workshops. When the bore tide happens just before a sunset, magic can happen. We had the opportunity on this particular evening to chase and photograph the bore tide and the Alaskan surfers along the Seward Highway, a sunset and as a bonus we experienced Baluga whales breaching just below where were were standing taking in the last light of the sunset.

These experiences are hard to describe, even with a photograph to accompany the narrative. They are things that one must experience in person to appreciate. Darlene and I have a combined total of over 25 years of experience exploring Alaska. If you have ever considered an Alaska adventure please consider signing up to one of our Alaska workshops.

Finding Fantastic Focus – Learning Hyperfocal Distance

Purple Mountain Lavender

Finding Fantastic Focus - Learning Hyperfocal Distance. It’s a beautiful morning as you gather your camera and gear to head out to take some beautiful landscape photos. You understand the settings that you’ll need to get the proper exposure, in this case with a fast enough shutter to overcome the blur caused by the breeze that’s tosses the flowers around in front of you. In the background is a view of Mount Hood on the horizon. You allow the camera to set the focus by using one of the automatic settings. Perhaps you focus on either the foreground or the background. Or, if you are using manual focus, you use the age old method learned from another photographer who learned it from his uncle who was a photographer who learned it from some guy named Ansel, you focus a third of the way into the scene and hope for the best.

Once you get home and download your photos you notice that in some of the photos the foreground is out of focus and the background is in perfect focus, while in others the foreground is sharp but the background is out of focus. Some may be fine from front to back but you don’t know why or how it happened.

In time, as you hone your photography skills, you will want to understand how to focus properly and consistently. It’s something that is hard to guess your way through or to accidentally discover. And once you figure out that there’s a method, understanding it seems daunting but it’s rather simple to understand if explained properly, so I’ll give it a try.

What you need to understand is something called hyperfocal distance. By focusing your camera at the hyperfocal distance your photo will be in acceptable focus from half that distance all the way to infinity. In other words if your hyperfocal distance is 20 feet everything will be in focus from 10 feet to infinity. In landscape photography especially it allows you to maximize your depth of field. Knowing this, in this example, we can then push our depth of field out by focusing to 30 feet, ten feet past your subject, maximizing the depth of field.

Determining the hyperfocal distance for a particular focal length and aperture combination can be tricky, but there are charts that you can put in your billfold or camera case. There are also apps for your smartphone that will help you calculate what it is for your particular camera, focal length and aperture setting. Because of this I won’t go into the complications of the mathematics involved in determining your hyperfocal distance. With one of the variables being “The Circle of Confusion”, it would be easier to explain a method that I use that you can start using right away to maximize your depth of field resulting in a more accurate and consistent focus in your photos.

Start by switching your lens to Manual. Turn off any kind of vibration reduction if you’re using a tripod, leave it active if you’re hand holding. Make sure to stop down, aiming for the lens “sweet spot”, an aperture setting of roughly f/8 - f/11. The sweet spot is the range of sharpest aperture settings of your lens. It’s typically two full stops from your widest aperture depending on the lens. Just make sure to stop down to increase your depth of field.

Turn on your Live View screen and increase its magnification and scroll the view to the closest spot that you want to be in focus in the scene. Observe that area as you turn your lens focus ring to infinity, which will slightly blur your foreground, and then focus back from infinity slowly until your foreground object just comes into sharp focus then stop. Once you do this you’ve moved your depth of field out as far as it can go while maintaining focus at your foreground object. Using this method you don’t need to know distances to set your focus.

I should mention that there are times when hyperfocal distance is not desired or necessary. Many forms of photography rely on a shallow depth of field such as portraiture or macro photography. In that case, none of this is necessary as having areas that lack focus is desired to direct the viewer's attention to the subject which is in focus.

Also modern digital photography and computerized post processing allows a photographer to take multiple shots of a scene, focusing from front to back, and then combine them to create a focus that is sharp throughout the image. This method is called Focus Stacking, but in most cases it’s unnecessary if you use the methods described in this article.

As in most cases when an instructor explains something, they will always seem to take the long way. I know that I gave you the shortcut at the end of a lengthy description, but in any skill it’s more than doing, it’s also about understanding. The more that we understand what we are doing, the more we’re able to perfect how we do it. I hope that this rudimentary explanation of hyperfocal distance helps you to take your photos one step closer to perfection.

Photography in The Winter

Snowy Forest Scene

Photography in The Winter

As the Mama’s and The Papa’s once sang, “All the leaves are brown, and the sky is grey”. But that shouldn’t stop you from taking a walk on a Winter’s day. And while you’re at it, don’t think that photography season has passed. I can think of at least six reason why Winter is a great time for photography.

The first reason that comes to mind concerns the weather. The common thought about photography in the weather would be that it’s a terrible time to go due to the grey skies, rain or snow. It is commonly believed, especially among non-photographers, that the Summertime is the best time for photos. Although the Summer weather is a great time to be in the outdoors it may not be the best time to make beautiful photos - Especially photos of dramatic light and skies. A clear blue sky is beautiful in a photo, but there can be a lot of negative space to try to fill, whereas a grey, dramatic cloudy sky can add texture and drama to the scene.

Rain can help a scene as well, especially a forested creek or a waterfall. The rain wets the foliage that may still be in the forest, including moss and evergreen trees. When the foliage is wet I like to apply a circular polarizer to my lens and turn it until the shine and glare that’s on the leaves and rocks, which is a reflection of the sky and ambient light, disappear, which will in turn bring out the color of the forest. Don’t hesitate to go out and photograph in the snow. The snow can make some great photos, especially fresh snow. A bluebird day and fresh snow will bring clear views of the horizon and any geographic features such as a mountain into view.

Wintertime is the best time for beautiful sunrises. Winter skies and rainstorms can, at times, clear or partially clear at night and during daybreak only to succumb to a completely overcast or stormy sky soon after sunrise. I always try to go to bed early, set my alarm and head out to a view to try to witness a sunrise.

Winter forest scenes can be dramatic as well as artistic. The lack of foliage leaves the forest with a clear view through tree trucks and bushes. Many times a view of a scene such as a creek, waterfall or view into the distance is exposed in the Winter when it’s obscured by foliage in the Summer. Also, with the tree trunks exposed, creative abstract landscape scenes can be found.

Summertime weather, sun and no rain, leaves the streams and waterfalls dry or with a limited flow but the rains of Winter fill these streams with water. With rain comes renewed growth of the moss around these streams and waterfalls as well.Winter can be a great time to photograph them. And don’t hesitate to arrive after a fresh snow to photograph them in the Winter white forest. I enjoy photographing streams and waterfalls in the Winter.

Winter weather will also filter out a lot of fair weather photographers too. Not all will dare to go out to get those unique Winter photos. This leaves you with more room to work at a location. Less people in a photograph will allow you to concentrate your subject better, no matter if you’re photographing a landscape or a portrait shoot in a park.

Then there are the holidays. The Winter season brings holidays that will traditionally bring families together for family events and get togethers. Don’t let these times with family pass without documenting them with a photograph. A lot of times, in this busy day and age, we are so distracted by our personal day to day routine that these holidays are the only times throughout the year when family can be gathered together in one place. Take advantage of that time to gather images for posterity.

As you can see the Winter season is no time to set your camera aside. There are plenty of reasons to look at Winter as another time of the year to get beautiful photos.

Pathway To The Stars – The Milky Way Over Mount Hood

The Milky way Over Mount Hood Oregon

Pathway To The Stars. The Milky Way Over Mount Hood Oregon - I had a great time hanging around in the dark with my brudda Rob last night. We shot the night sky over Mount Hood from the north side while talking about the Milky Way over Mauna Loa - The night was as warm as a Big Island night - and other places where we've stood and observed the stars.

There are very few things that surpass the brilliance of the stars on a dark Summer night. Since I was a small boy I have slept outside whenever possible, even if only in my backyard. I'm fortunate to have lived in some places that have extremely dark night skies.

I remember great times while I was in school in the Illinois Valley of Southern Oregon when neighbor friends, my brother and I would just lay blankets out in the pasture, set up our sleeping bags and count falling stars and satellites until we fell asleep only to wake up again at sunrise covered in dew.

I was reading the other day that 80% of the people in the United States are unable to see the Milky Way at night. That's a sad figure. I sincerely feel that when we remove ourselves from the natural world we suffer. Taking away the stars in the sky that have caused so many people to dream fantastic dreams and thoughts of wonderment and hope is the last brick in the wall of separation of humanity from Nature. Stand in a city some night and search for anything natural. Even the sky is cloaked in a bath of unnatural light. How can we understand what Nature requires from us if we don't understand her?

Please do yourself and Nature a favor and reconnect your soul to the Earth and all of its natural fantastic wonders. Drive somewhere dark some night and look up. Bring a blanket and a sleeping bag. You may be there for a while.

Shaniko Oregon

Shaniko Oregon

Shaniko Oregon Ghost Town Photo Clinic - July 28, 2018 - Gary Randall Photography announces a day exploring the central Oregon ghost town of Shaniko.

This will be a 1 day field trip photo clinic. Although Gary will cover the basics, this will be a great class for intermediate or advanced photographers who want insight into how I create my photos.

The workshop will be held at Shaniko just north of Madras in Central Oregon. The group will meet at 10am in front of the Shaniko Hotel. We will have a lesson and then we will put into practice the techniques explained by Gary during his talk. Gary will be available throughout the workshop to answer questions, give tips and advice.

The price is only $150. !!!

Class size is very limited so sign up right away to reserve your spot. CLICK HERE to sign up.

Night Sky Photography

Mt Hood Milky Way

Night Sky Photography  - Summer is here. For a landscape photographer this time of the year means good weather, green forests, flowers, warmer nights and starry night skies. I enjoy heading out for a sunset and staying until the stars come out, and in many cases, staying out until sunrise. Sunsets and sunrises are always a wonderful time to get dramatic landscape photos, while landscape photos with an amazing Milky Way in the sky above can be unique and dramatic.

Night sky photography is a form of photography that seems mystical and magical. To many people night photography appears to be complicated and left only for those with the most acute photography skill, when in fact once you understand just the basics of the exposure triangle - Shutter speed, aperture and Iso - you will realize that all that’s being done to get these dark night sky photos, in most cases, is to get as much light into your camera as possible.

Set your camera on Manual, set up your tripod and let’s get started.

As most photographers know when you use a long exposure you will need a tripod. Your tripod will keep your camera still during the exposure. You will want to insure that no movement takes place at all during the exposure. Another device that helps with this is a shutter release. The shutter release will keep you from moving the camera when you press the button. If you have no shutter release you can usually set your camera timer to take the photo a few seconds after you click the shutter button.

Your exposure setting will need to be extended, in most cases, up to 20 or sometimes 30 seconds. This will depend on how dark the sky is. Remember that the darker the sky, the brighter the stars, therefore a night without a moon will give the best starry sky. The only negative consequence will be less light on your subject or foreground. Many times just a slight sliver of a moon will allow a more defined foreground while still allowing the stars to shine.

Concerning shutter speed, the only consideration that you must have is that the longer the shutter is open the more movement you will detect in the scene. Even in the stars as at some longer focal lengths the stars will streak slightly when you extend the exposure to 30 seconds. These star streaks turn into star trails if allowed to streak long enough, sometimes up to 30 minutes. This method will create amazing surreal images of steaks and circles of light above your subject. To do this requires another method, not explained here, to pull off.

The next thing that one must consider is how the aperture will block or allow light to pass through the lens and into the camera. When light is dim or it’s dark outside you will want to allow as much light through as possible, and to do this you must use a wider more open aperture - A smaller number. Without getting into the math involved just remember that when you open your aperture you will be allowed a quicker shutter and a lower Iso. Both are desirable, which I’ll explain later. A good quality lens will allow an f/2.8 aperture setting.

Next is your Iso setting. What is Iso? You know that the longer that you keep your shutter open the more light will pass through the lens and into the camera. We also know that an aperture that’s open wider allows more light in. In digital photography we have no film but we do have electronic film in the form of the image sensor. The image sensor’s sensitivity to light can be adjusted. The higher the Iso number the more sensitive to light your camera becomes. Iso 1000 will be more sensitive to light than Iso 100, for instance. Therefor you will need to raise your Iso to get your starry night photos. It’s easy to think that all one needs to do is raise their Iso, but there are negative effects in the form of noise in the image. In film it’s called grain. To get a cleaner image you want to keep your Iso as low as possible. Extending your shutter speed and opening your Iso allows you to do this.

One thing that one must remember when setting up is that in the dark it’s more difficult, or in many cases impossible to use your light meter to determine your settings. Therefore one must take a couple test shots before they get the exposure right.

Another important and in many cases the most difficult part of getting setup for the shot is focus. Unfortunately on a zoom lens when you set the focus to infinity the stars will not be in focus. And at night when it’s dark it’s difficult to manual focus. I recommend taking your camera out in the daylight and setting the focus to an object far away and then marking the lens. I have used tape where when I line up the edges of the tape it’s in focus. There are other methods, but this is the simplest until you gain more experience.

And so once we understand this we can let more light into the camera using these three settings, we can start taking photos in low light. Tripod, long exposure, open aperture and a higher Iso. The next thing to do is to go out and practice. Once you do this a few times your photos will get better and your understanding of what settings to start with will become more second nature.

For more in depth instruction I'm alway available for private one-on-one in field workshops or post processing in person or via Skype.

Crystal Crane Hot Springs Milky Way
Crystal Crane Hot Springs Milky Way

Making Money With Photography

Wedding Photography

If making money with your photography is your goal, what's holding you back?

It's taken me a long time to realize that making money with your camera can be pretty simple, but one must be happy making a little in the beginning and realize that the dream of good money comes in time. Like all journeys the sooner that you start the sooner that you arrive where you want to be.

Beyond practicing to perfect your photography skills, the hard part is making the effort to find the jobs. If anyone has followed me close enough through the last 15 years they can attest that I've had some rough times. It has taken me longer than it should have to realize a few simple facts of life concerning business, motivation and purpose concerning my photography business. If I can save anyone any time, I’m glad to share what I’ve learned.

It doesn't matter if you have “real” job or not beyond your photography. You probably have some spare time that can be invested in creating or improving your photography business, be it your skill, your marketing plan or simply finding jobs. You must understand that you will be doing a lot of work for yourself that is an investment in the future of your business. A website, for example, will take a lot of time to keep current and relevant. Social Media and other forms of marketing take time as well.

First consider what you enjoy photographing the most or what you feel that you’re good at. I'm not talking about the remote and breathtaking landscape photography created as your art necessarily, although print sales can be added to the aggregate of income, practical photography jobs are more consistent work and pay. Jobs such as portraiture, events (weddings, engagements, etc) or real estate. These are jobs that fill a need of a client. This is work that you can get any day of the week. In my case I enjoy real estate photography jobs more than I enjoy weddings so I look for real estate agents that I can help. There were 255,284 homes sold in Oregon last year. There are 16,000 real estate agents in Oregon. There were 26,787 weddings in Oregon in 2016. All you need are a small handful of loyal clients. The work is out there.

Furthermore, there are a wide array of budgets for these jobs. There’s someone who has a budget that suits your rates no matter how low or high it might be. Start with lower paying jobs with less expectation and work your way up as you gain experience and reputation. You’re not a Richard Avedon or a Dorothea Lange, but they were beginners once too.

Let's say that you want to do real estate photography. Start by photographing your own home or, perhaps, a friend who has a home that would photograph well. If you want to do portraiture photograph your family and friends. Gain confidence by practicing. The same goes for approaching potential clients. Most people fear the word “no”. Put the thought in your mind that they aren’t rejecting you, they just don’t have a need for what you are offering. A no saves you a lot of time to go find that yes.

Don’t hesitate to turn down a job if you feel that it’s beyond your ability. It’s better to admit that than to get yourself in over your head and becoming discouraged, but overcoming challenges working as a photographer will be the best way to improve your understanding of photography. I have learned many lessons in my real estate work that I have been able to apply to the other forms of photography that I enjoy, for instance. In other words, these types of photography jobs will make you a better all around photographer. Play it safe, don't be afraid to fail. A lesson is learned and life goes on.

Next is that when you have your own business you have no boss to tell you what to do and when to do it. It's up to you to motivate yourself to do what needs to be done. A job must be done completely and done well first, and in a timely manner second. Your client would rather have beautiful photos in due time, than crummy photos quickly, but be prompt in returning your work to your client. It’s also up to you to motivate yourself to do what you know needs to be done including the parts of the job that don’t require taking photos, which are typically seen as chores by most photographers and artists trying to make a living with their skill. Bookkeeping, accounting, taxes, sales calls, follow ups, invoices. It all adds up, and many burgeoning photography entrepreneurs don’t consider all of that. It can be daunting, but it can be simple in today's computer age. Keeping good records will help you to take advantage of the tax laws made to encourage small businesses such as yours. Make your spare bedroom your office.

Create your brand and build a website with the best examples of your work. Make your brand identifiable to you. Make it your business identity. Print business cards and hand them out to everyone everywhere. I even hand mine out while hiking. The simple act of handing someone a card is empowering in itself. Represent yourself as a professional. Visit businesses that you feel may need what you offer. Make a contact there and get their card. Leave several cards before you leave and mention your website, then follow up with a call a few days later. You may feel bashful or even foolish at first, but don’t stop shaking hands. You will feel more comfortable in time. We’re all dealing with the same insecurities, including your potential client. We’re all human. You may be surprised how many people that you will find who will relate to you.

An important part of creating this new world of pro photography, which has nothing to do with photography, is to pare down your cash flow expectations and requirements. Relegate your photography income to your business if possible, or pay off the things that are keeping you from investing that money in yourself. If you are in a situation where your financial obligations are making your life top heavy, rethink your situation and remove obligation if at all possible. You can do one of two things to affect your money situation. You can either make more money or you can get rid of financial liability. Debt kills dreams faster than anything. I may not have the nicest car or the nicest house, but both are mine and those simple, basic things give me what I require for shelter and transportation plus the freedom to not have to have such a large amount of bills to pay each month. I'm not on this earth to impress anyone so new cars or a home with excess mean little to me. This also applies to your tools. I have never bought a new camera. I always buy gently used, but one day I'll have the best camera in the world.

Last you must believe in yourself and your abilities. Confidence comes with pride in your work and affirmation from happy clients and followers. It comes from seeing an improvement in your own work. It comes from actually being paid for a job well done. Being confident in your abilities give you confidence in approaching potential clients. All this comes from practicing and getting better at your photography. You must start somewhere, sometime and not stop. You must expect delayed gratification. You must have faith that it will happen. You must resolve yourself to never quit.

I’m at a point in my life where I’m realizing the benefits of the work that I have done over the past fifteen years. Sure there are others who have been more successful or have reached equivalent goals as mine quicker, but that’s their world. That’s what you have to tell yourself. This is your world and nobody else's. Relax, set your sights on your goals and live each day doing your best to reach them.

Now with all of this being said, this is my world, but I am a full time professional photographer. Am I hugely successful or even slightly qualified to give advice? Maybe not, but there’s always someone out there that needs to hear what you or I have to say. These are my thoughts. These are the things that I tell myself. I hope that this helps someone out there realize their dreams and goals.

If I can do this, you can too.

He’s too close for missiles Goose!

Full Manual Meme

I see this meme come and go here on Facebook. I figured that it would be worth it for me to comment on how I feel about this statement.

I encourage everyone to shoot on Manual Mode, but I'm talking from the perspective of a landscape photographer. In landscape photography we are typically in no hurry and it's important to control your camera settings to make sure that you have, what I call, the three essentials captured properly - focus, dof, and exposure. You don't want to have the camera choose one or two or even all three of the settings that allow you to affect the three essentials. In most every case you will want to control all three by having absolute control over the critical settings, shutter speed, aperture and ISO.

Now with that being said, as photographer who practices more genres than landscape there are absolutely times when switching to an Automatic Mode on your DSLR helps greatly to increase your chances at getting great photos. Most all DSLR cameras come with Manual, Aperture Priority, Shutter Priority and Priority Modes. There are practical reasons for each mode.

Let’s say that you’re photographing a wedding and you’re doing candid photos of the attendees. Do you really want to have to meter your light, adjust your camera, focus and take a shot? The moment passes in a blink of an eye sometimes. In any situation where the subject changes quickly or there’s a lot of action the Auto Modes will come in handy. Aperture or Shutter Modes would help greatly.

In Shutter Priority Mode you can set the Shutter Speed to your desired speed - The slowest shutter speed that you will need to create a clear image with no motion blur - Then set the ISO to Auto and set the Maximum and the Minimum ISO that you want and then let the camera set the aperture.

In Aperture Priority you can set the aperture to your desired setting f/stop - Many times a shallow DOF which helps your shutter speed and softens the background - Then set the ISO to Auto and set the Maximum and the Minimum ISO that you want and then let the camera set the shutter speed.

When I shoot in an Auto Mode these are the two that I typically choose - Aperture Priority and Shutter Priority - with Aperture Priority used the most.

The third is called Program Mode. Program Mode is Automatic, allowing the camera to control all of the settings, but if you decide to change the shutter or aperture, is goes into “Flexible Program Mode” once you turn either dial. When you make the change the camera will compensate with the other setting that you didn’t affect. In other words if you are shooting in Program Mode and you turn the shutter dial the camera will change the aperture to keep the exposure proper.

Here’s how I look at it. Learn to shoot in Manual Mode. Learn your camera until it becomes instinctual. Learn how to nail the exposure and the DOF and how to deal with ISO. Learn Manual Mode because it will allow you to know when it’s going to pay to switch to an Auto Mode. If you understand Manual Mode you will understand just what it is that your camera is doing when you ask it to take over some of the work for you. There are many times when you will never consider an Auto Mode, but they’re there if you need them.

It reminds me of one of my favorite scenes in Top Gun when Maverick is chasing the instructor and says, “He's too close for missiles Goose, I'm switching to guns!”.

 

Danny at The Owyhee
Danny at The Owyhee shooting medium format view camera.

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