Your Transition to a Full Time Photographer

This post is in response to one of the many great questions we have received. The question relates to “getting started” in the photography business and going from being the person who always takes photos of family and friends, to transitioning into being a working photographer.

Let me start by saying that we are not twenty-year veterans of the photography world, so there is no perfect answer that we can offer you. However, we went from working a full-time job, to working as a photographer full-time. This transition and leap of faith are still fresh in our minds, and while we are still figuring out the photography business (although we don’t think anyone ever fully figures it out!) We can tell you what worked for us, as well as many of my photographer friends, and how we made the transition.

• The first, and possibly the most important, thing to keep in mind is this: breaking into the photography business does not happen overnight. I really mean that! For some people, things may fall into place quickly, while others may work for years to build a solid client base.

• If you are already photographing your friends and family, that’s a great place to start. At this point, getting some unique business cards would be extremely helpful, because you can give them to your friends and family, and have them hand out the cards to THEIR friends and family. Word of mouth will go a really long way!

• Now is also the perfect time to solidify your brand – figure out what type of photography you’re interested in, and how you can reach potential clients. Having an idea of what you want to specialize in (portraits, weddings, newborns, fine art, etc.) will help you focus your energy on developing your style, brand, and marketing to the right audience. Also, consider creating a Facebook business page for your photography, as social networking is a wonderful way to connect with future clients.

Building a rapport with other photographers, especially full-time photographers, will also help you get ideas and support on how to grow your business. Pretty Presets and Rock the Shot are wonderful forums to meet other photographers, and the knowledge that you will gain from talking to other people in the business is invaluable, especially when you are first starting.

Finally, and this is keeping in mind the idea that this may not occur overnight for you, take small steps every day that will help you work towards this transition. Having a list of things that you can do, right now, to help grow your business will help you focus your energy on the present, rather than worrying about or trying to tackle things that, at this point, are out of your control. I have two lists – my daily to-do list, which includes things like keeping up with my social networking sites, websites, printing business cards, emailing clients, and anything that can be taken care of that day. Then, I have my “on the horizon” list – this list includes goals for the year, like how many shoots I would like to have.

The truth is, there are a lot of different things to consider that will help you transition into being a full-time photographer, but the best thing you can do, at this point, is start setting goals for yourself. Rather than saying, “I want to be a full-time photographer” ask yourself what sort of photography do you want to specialize in, and start brainstorming on small steps that will make that happen for you. It is a constant journey, but if you are in the early stages of making the transition, you have a real advantage, because you have the opportunity to find ways to make your work unique, and really stand out among the rest of the business.

Food Photography Lighting & Styling

In today’s foodie/cellphoneography/Instagram world, everyone is a food photographer. It’s almost customary to take a photo of your food before digging in. Some restaurants have even had to instate a “no photography” policy because patrons complain about the constant flash of cameras.

Food photography, however, plays a huge role across many different businesses. Previously limited to the food industry (restaurants, markets, specialty food stores) and food-dedicated publications, food photography now spans a wide breath of editorial publications and commercial/advertising campaigns. 

Bottom line? No matter what kind of photographer you call yourself, it’s advantageous to have some food photography skills under your belt. You’ll also want to stand out from the crowd of amateur food photographers – showing clients that you have the experience and know-how to deliver the best images.

If you’re relatively new to the world of food photography, or just looking to brush up on your skills, start with lighting technique – specifically natural light. Like all photography, mastering lighting will ultimately take your creativity up a notch.

1. Always keep white and silver bounce cards in your lighting kit

One essential piece of equipment in your lighting kit should be white and silver bounce cards, used to gently fill in any harsh shadows caused by window light. Ricky Rhodes advises photographers to use these cards to bring details back into the deep shadows, ultimately adding more color and texture to your images. The bounce cards are also important because you should rarely be shooting into direct sunlight. You want to avoid too much contrast so that food looks soft and elegant. You can also use the bounce cards to direct more light onto the image to highlight certain features and make your photos “pop”  

2. Bring your focal point forward

The focal point of any great food image is the dish itself. Props and garnishes can help tell the food’s story, but they should never distract from the main event. Ricky Rhodes suggests focusing near the front edge of the food. This naturally draws the viewer in to the rest of the frame. You also typically want to shoot with the aperture wide open to deliver shallow depth of field and isolate the food in your frame.

3. When in doubt, shoot overhead

Many amateur photographers fall into the trap of shooting food from an angle that makes it look like it’s about to slide off the plate (like this shot). Shooting overhead not only eliminates that possibility, but it also gives you more flexibility to add props to the frame.

4. Mimic natural light

Not every day will be sunny – you know that, and your client knows that, but that can’t stop the shoot. Mimicking natural light is an art form in itself, and you’ll need a few extra lighting tools. If possible bring portable lighting kit with a large softbox, which acts as a big portable window when shooting on a cloudy day.

To help give your food photography a fresh and natural perspective, try shoot directly into the light. Then the dish appears in front of a completely blow out background with lovely rim light. This technique works well with translucent foods like lettuce leaves and drinks. The result is a night highlight that outlines dishes and makes your images more vibrant.

6. Compliment food with props of similar colors and interesting textures

Food photography is often about telling a story. Who made this? What’s the occasion? What season it is? The right props can help you share this story – just beware of going overboard.

Try picking one standout color from the dish – say the strawberries in a strawberry rhubarb pie – and adding a small element that incorporates that color. It could be the paper that your dish sits on, dusted powdered sugar on the table, orange slices, a wooden cutting board, or a cup of coffee.

7. Make minimal adjustments in post to remove distractions

Much like photojournalists, professional food photographers prize themselves on little-to-no post-production. That being said, if a few crumbs or blemishes on the surface material are distracting, by all means remove them in Photoshop. You can also make some minimal adjustments to levels and curves, and color balance in Lightroom to get the exposure where you want it.

7 Tips for Photographing Newborns...

Newborn babies are the coveted prize in photography. An adorable sleeping creature that would look cute no matter what? Sign us up! Let’s put that baby in a stockpot! In a basket! Wait! –A headband that looks like a flower! In a field of flowers! With butterflies! And maybe a big gift box bow!

Then I realized that Anne Geddes is the landlord of that entire market. And that it’s rare for a portrait client to actually want a picture of their baby in a stockpot. What people do want is a picture of their baby, that looks like their baby. Because in about 5 minutes their baby isn’t going to look like this anymore.

Set the Scene

In an ideal situation, you are photographing a newborn that is less than two weeks old (when they tend to be more “mold-able”), in the morning (when they tend to be a more willing participant), just after being fed (when they tend to be a little more tolerant), and in a warm room (where they tend to be a little more comfortable).

Having everything ready to go before shooting a single shot is taken will serve you well: various blankets for background and warmth, cloth diapers for when someone pees on you (let’s hope it’s the baby), any clothing you plan to use and back-ups of every possible thing. We prefer minimal clothing on newborns, but this is just personal preference. Amble natural light is important because even if you do usually shoot flash, it’s often disruptive enough to wake a newborn and rule number one in photography, parenting, and life is: Never wake a sleeping baby. If there is anything I’ve learned, it’s that.

Be prepared to work fast because babies can be ticking time bombs, but slowly because they are delicate ticking time bombs. You are methodical. You are confident. You are patient. You are the baby whisperer. Because we are speaking in ideals. And if you’re us and we are still speaking in ideals, you also have on your cute jeans and are having a great hair day. Because, why not?

Find the Purpose

Photographing newborns is one of the few times we make a point of asking clients what they are planning on doing with the end result. Often it’s for use in a baby announcement or just as “baby pictures” documenting this time. But if it’s going to end-up as a 24″x36″ canvas above a fireplace, I want to know beforehand. Or if I’m going to need negative space to create an announcement card, I’d rather shoot with that in mind then trying to backtrack later in post.

Another thing to think about is the ratio of images of the baby alone and the baby with parents or siblings; there is no right or wrong answer here but knowing what you or your client is wanting in advance is key. Newborn shoots are not (usually) guided by a free-spirited toddler and therefore require more of a plan from you than shoots with older children. And you never know when a baby will decide that pictures are just not what he wants to do today and let’s you know this in a very unsubtle and loud way.

It's in the Details

And why shouldn’t it be? Baby details are sorta amazing. I mean have you seen a baby toe recently? Talk about something I’d like to dip in butter and call a snack. We have all seen baby parts photographed in the same boring ways: wedding rings on toes, close-ups of belly buttons and umbilical cords (ew), tops of bald heads in big grown-up hands. We are guilty of doing every one of these, multiple times over. We now see that the shots that will stand the test of time will be very simple close-ups that highlight just how small newborns are: tiny hands holding a parent’s finger, brand new feet that have yet to see wear, yawns and other adorable expressions that only look adorable on a baby.

As Cute as they are Awkward

Oh sure, we all know they are adorable, but what are you supposed to do with them? They are flimsy and tiny and often naked. This is where I think we get into trouble and put them in baskets and stockpots. Because we can. Instead of creating scenes, it’s better to just think of “positions”. Babies can only do about two positions unassisted—laying down this way or that way. Work with that.

They may just lay there, but the beauty in this is that they often let you adjust them however you want. Tuck legs up under bodies, pull flailing arms into blankets, curl them up into someone’s hands. The baby is the star of this show and is plenty cute to pull off this role without a big supporting cast of props. A key to getting the position you want and having it stay that way long enough to get the shot you want is to keep your hands on the baby longer than needed after positioning them.

Think of it as long hug—you don’t need that extra ten seconds at the end, but it feels nice. Get the baby settled and then stay there for a bit longer. The warmth of your hands and the consistency and reassurance is often exactly what the baby needs to “hold” the position you are seeking.

Got extra arms? Use them!

We like to include siblings as often as I can, no matter the age. This gets tricky because the very definition of tricky is a two year old holding a newborn while exhausted parents watch the situation go down. Enough pillows and promises of lollipops though will get you a shot or two and a little variation in the final images. Interaction is the name of the game here—look for whatever the emotion is that’s happening and play on it. If it’s pride, comment on it to instill confidence and document a sweet moment in sibling history. If it’s indifference, engage the older child so they forget there is even a new addition in the photograph and are happy to be your star for a moment.

Stop Worrying

We all love a good worry and consider ourselves to be quite good at it. But as jobs go, photographing newborns is about as close to shooting fish in a barrel as you are likely to get. It’s easy to feel the pressure given that babies are so fragile and grow every single second. The truth is any picture you take of a newborn is a gift. Just as any time spent getting to photograph a newborn. We don’t get sappy often, but newborn babies are pretty special. Enjoy it.

Especially if the newborn belongs to someone else and you get to walk out of there without a crying baby and go home to a bed where you’re permitted to sleep through the night.