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  • SAN DIEGO, CA

    May 3rd and 4th 2008. Now accepting registrations: $450 before April 1, $550 after. We are limiting this class to 20 attendees. 10-5 both days, optional Saturday evening image/pricing review.
  • DELANO MN

    Twin Cities. March 29th and 30th. 10-5 both days, optional Saturday evening image/pricing review. 450 now. $550 after March 1. Now accepting registrations. Limited to 15 attendees.
  • COEUR D'ALENE, ID

    Near Spokane, WA. February 16th and 17th. 10-5 both days, optional Saturday evening image/pricing review. Now accepting registrations. Limited to 15 attendees.Now accepting registrations. We're limiting this workshop to 15 paid attendees so we expect to fill it pretty quickly. $450 now, $550 after January 25th.

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February 20, 2008

Idaho workshop and some images

I am back home from Idaho and finally mostly getting caught up.  :)  If you came to the Idaho workshop and did not get a "class list" email from me today, let me know.  Here are a few of the demo images from Sunday for comparision.

Toplight

This first one is an example of the differences you'll get when you block the overhead light and when you just leave open sky above.  Yes, her head is angled slightly differently but notice the highlight on her cheeks and the darkness of the eye sockets compared to the one where we blocked the light from overhead.  And her catchlights are so pretty in that second one, too.  For those of you who WEREN'T there, this was an overcast day at about 11 am, so the sky was acting like a huge softbox.  The problem is, you wouldn't normally put a softbox directly overhead without any kind of reflector or something to pop that light back up into her eyes, if you were in the studio.  You'd want the light to be a little more directlional.  Outdoors, the easiest way to get pretty light is to block that light coming from directly overhead.  You can also see the little bit of hair light because we put the stronger light behind her.

Distortion

This second example is of the difference between shooting a portrait with a wide angle lens (in this case, a 35mm) and a longer lens (in this case, a 70mm).  I came in close for the 35mm shot and then backed up for the 70mm shot so her head size would be the same in both images.   Look at the details in the background in both shots -- the settings (except for the focal length) are the same, but notice how the background is more in focus in the first than in the second (in other words, the depth of field appears shallower in the 70mm shot at the same settings).  Also take a look at her head shape and features.  The difference may seem subtle but it is there.  In the 70mm shot, her features and head shape are more "true to life" than with the wider angle.

More to come!

January 09, 2008

Inspiration, finding your style, and kissing cousins

I sometimes say that the portrait world is an incestuous business.  We all look at each other's work, and when we see something we like, we file that away for future reference.  So you'll see these big trends (the giant teacup, the baby in a bowl, that terrifying-to-moms "baby dangling in fabric" newborn shot, etc) that suddenly EVERYONE is doing because we're all watching each other for the next good idea.  There is a lot of inspiration and borrowing that goes on, and that is one of the things that makes friendships with other photographers and involvement on photography boards so great.  If you're in need of a new promotion or a new set, there are so many options to choose from and you're sure to find something that will inspire you once you start looking around. 

But after awhile, you start to see problems.  Constantly finding inspiration in other photographers, particularly those in your own area, can be like marrying your cousin.  It might seem like a good idea at the time, but somewhere down the road you realize that maybe the ties were too close and things are going wrong.  (How's THAT for a terrible analogy?)  To put it back into photography terms: if everything you're offering is a copy of someone else, where is your style?  And what would make a client choose you over them?  You'd have to do far superior work, or you'd have to charge much less to make it seem like a deal.

That leads us to the lesson behind this post.  If you want to not just survive, but to succeed in the portrait world, you have to create your own look, products and brand.  If you are doing custom portrait work, and "The 98 Portraits for $9.99 Chain Studio" at the mall starts offering what you do for a price that no small business could compete with and survive, you have to change what you do to stay ahead of the game. 

Differentiate or die.

Now that's not a personal threat to anyone in particular, LOL.  But here's the deal: we all offer the same types of promotions, because so many are seasonal or holiday based.  We all offer some of the same products (although now that places like Costco and Best Buy are offering them at less than OUR cost at the pro labs and the high quality vendors, maybe it's time to rethink some of those).   When I talk about pricing, I hear from so many of you who say, "but ShelbyLane [no one calls me by just my first name anymore] you don't know my area... there are at least 12 other 'location only' photographers who offer exactly what I do in my small town, and if I charge what I need to charge to stay in business, everyone will go to them cause they're cheaper."  And those of you who have been to a workshop or a conference or have talked to me by email or in the line at Starbucks all know what I say to that: "Well what else do you do to set yourself apart from the rest of the crowd?" 

For instance, if there are 20 other photographers in your area who have an "About Me" section on their site that says "My love for photography began with the birth of my first child, and as a mom myself I know the beauty of the everyday moments and am more sensitive to your needs as a parent" or whatever, does yours say the same thing?  While it may be the truth, that is no longer setting you apart as THE choice for their portraits -- it's the exact same thing that everyone else is telling them.  Maybe yours needs to change, just to set you apart from the crowd.

What inspires you in regular life?  What makes your heart sing?  If you had to describe your style, how would you do it?  One of the best exercises I ever did was for a graphic designer.  She asked a lot of questions about what moved me, what inspired me outside of photography, and what I loved.  Those were surprisingly difficult questions to answer at the time.  I had been describing my style, as many of you do, as "artistic and candid black and white natural light outdoor portraits of kids being kids."  And after I typed that out, I realized that really didn't describe what I did anymore.  Once I sat down and really thought about it, I realized that my style is heavily inspired by classic children's book illustrations from books I loved as a child.  I just didn't really do the candid b&w look as much anymore.  But I had never sat down to think about the images that I truly loved and what I truly wanted to shoot every day and offer to my clients as heirlooms. 

So my challenge to you for 2008 is this: Learn to be the trendsetter.  Look for inspiration in places OTHER than children's portrait photography, and definitely outside of your geographical area.  Movies.  Magazines.  TV commercials.  Books.  Music Videos.  Museums.  Other types of portrait photography.  Look at how people use light, color and texture in their senior or bridal portraits -- some might be too trendy and edgy for you, or two "old school" for your taste, but that doesn't mean you can't learn something from the beautiful lighting or posing or set design they use.

Or, take the inspiration from other children's photographers and make it your own.  Don't  rebuild their set in your studio.  Take the parts you like, and change some others around to make it YOURS.  I hear a lot of people say, "I love that set you did, but my studio's too small for it."  Well think about what it is that you loved about that set, and then figure out how you can get a similar feeling in your own space.  Will it be exactly the same?  Nope.  But it will be all yours.  You don't want to live your professional life as someone else's shadow.

So, since we're all revamping our pricing and websites and marketing pieces for the new year, take some time to look at your overall presentation.  The quality of your work.  How you're presenting it to your clients.  The language and information you're using on your website and your blog.  Your personal style.  If you say "what personal style" then maybe it's time to start looking at those inspiration questions.  What moves you?  What do you LOVE?  What is it about the images that melt your heart that makes them so special?  If you can answer these questions and incorporate them into your own business, you'll be closer to finding your own unique look.

January 07, 2008

Newest Set -- Winter White/Ballerina Babies

So here is this year's Winter White set.  We're running these special white sessions for the next two weeks, and we can customize the set for families and individuals.  We also have a special "add on" for little ballerinas that includes the barre and Tim Teddy in a tutu (Charlotte was very very upset that I would force a boy bear to wear girl clothes, but the promise of chocolate was enough for her to overlook the insult).

This is set up on our north light wall, and we're shooting everything we can with window light.  Sometimes, with a family, this isn't really practical so we go ahead and drag the softbox over.  We still get the nice, soft window light look, but I have to work harder to light the background to keep everything looking natural.  So for individuals, as long as we're getting enough light, we'll shoot with the window as our main light for these sessions.

I knew we'd be using a rough wooden barre for the ballerinas, so I wanted the rest of the set to be soft and flowy with shades of white and tan.  The background is netting curtains from Ikea on a background stand, pooled at the floor.  The barre is a wooden dowel attached to some old light stands, which are covered with soft white material as well.  This set still needs something for the little ballerinas... I think some pink rose petals and some satin ribbon will help finish it off for our sessions this week.  The background is set back about six inches from one window, and the barre is set back about a foot from what we're using as our "main light" window.  The barre and the background are about 6 feet apart.  I'm also using a 4x6 silver reflector for some fill on the shadow side.  I metered Charlotte's face and shot by those readings -- today was very darkly overcast, so my readings were ISO 320, 1/80th (shooting from a camera stand) @ 3.5, shooting with the D200 and the 85mm lens.  With a more active kid, I would have had to bump up that shutter speed to avoid kid motion blur, OR I would have used the strobes to make life a little easier.  Charlotte is a good model and knows to stay (mostly) put, so I knew I could shoot with window light for her, even with less than ideal lighting conditions, and still get sharp images.  Plus, I knew that a little grain would be okay, because I wanted these to have a handcolored, more filmy look.

I always shoot in RAW, so in Bridge/Adobe Camera Raw I added contrast and then opened them in Photoshop.  These have a Kubota BW action applied and then backed off to about 70%, and I brought back a tiny bit of additional spot color in the cheeks and lips.  Then I added one of the Kubota grain filters to complete that ambient light/high speed bw film look that I was going for.  I will post some family images using the strobes on the studio/client blog later on this week so you can see the difference in the overall look as well as in how we will process those.  It is very easy for me to move my equipment around in the studio, so if we decide we need supplemental/artificial light it's right there -- I just change my meter back to strobe, meter, change camera settings, and go.

A big thank you to the fabulous Jen Hillenga for the inspiration.  :)

02ballet_301ballet_3

November 26, 2007

Follow Up on the Lighting Workshop

First of all, thanks to everyone who came out on the 18th!  We had a great group and I loved meeting each of you.  Plus, it was great to see some familiar faces!  I am thankful that we managed to have good enough weather to go out and actually shoot some outdoor work.  We had a lot of fun and I hope you all took away something new to practice over the holidays!

Here is the Nikon/Adobe Camera Raw info I was talking about.  Download the latest via the link on his page and follow the installation instructions.  It should allow you to open those RAW Nikon files in Adobe Camera RAW/Bridge.  Keep in mind that for most users, the RAW files will open up with Auto Adjustments in place.  You can turn these off (by either clicking the little check box above the sliders on the right or by turning off Auto Adjustments on the pull-down menu near the tabs) and see how you actually shot the image, and then adjust from there.

And again, links to some forums and sites that will help you learn even more:

http://www.betterphoto.com

http://www.ilovephotography.com

http://www.texasphotoforum.com

http://www.tppa.org

http://www.ppa.com

http://www.prophotogs.com

I do have some images from the workshop, but I am finishing up on Christmas season stuff in the studio and haven't even looked at them yet.  I will try and post some later this week.  If you have tried out some of the techniques that we've talked about and have shot an image you loved, feel free to send it to me and we'll share it here.

Now, on to the next workshop!  Our full two day workshop is this weekend, December 2-3.  This is the last call for registrations!  I'm going to start putting together our little packets, etc so I need a final count.  I look forward to seeing you all!  We're starting at 10 on Sunday and going till between 4 and 5, and we'll have the same schedule on Monday as well.  We have kept this class size small and I think that will work out nicely.

October 19, 2007

Let's talk set design

Pumpkinpatch_5

We did our annual Pumpkin Patch promotion at the studio last weekend and so it's a good time to talk about set design.  What makes a set too busy or too sparse is often a matter of taste, but here is what I personally look for when I'm putting a set like this together.

1) I want everything in the set to belong there.  So color, texture, and style are very important.  I want everything to be keyed the same in color and in tone -- meaning, for this set, I want everything to be an earth tone and to be fairly low key.  If I had thrown a light brown/tan chair into that mix, it would have been okay, but you would have noticed the chair before you noticed the kid in earth tones who was sitting on it.  So the first thing I decide on is the key and the color scheme.  Will it be mid key with earth tones?  Will it be like last year's Christmas set, which was higher key and very very neutral?  Or will it be low key with deep reds and greens, like our Christmas set from the year before?  And in this particular set, can you see how throwing a small shiny metal piece would have competed for attention?  The style would have been so different, and the shininess would have really made it stand out in all that matte rustic fally-stuff.

2) I want it to look full and complete.  For me, this means layers and levels.  I need this to work with a grade-school kid as well as with a 6 month old.  So we set up different levels to add some height.  Next year, I'd like to put some fake trees in here so that we can have a leafy vignette for the tall kids.  We also create depth with the layers -- we have the foreround of leaves, the middle area with the fence (where the kids sit) and then a background of tin pumpkins, and behind that a muslin.  I shoot pretty open in the studio to create some depth in the images -- for this event, I shot with an 85mm lens at 3.5 (5.6 or so with more than one kid).  Becasue everything is in the same color family and nothing really stands out, I can fill in the spaces with leaves, berries, and pumpkins and not feel like the set will compete with the kids.  Some of you might say it's too much.  Some might say it's not enough.  But for me, this is the look I was going for.  For our Christmas set with the ribbons, I still had the same depth, but I kept it really really simple.  I still felt like it looked complete, but it wasn't the same type of "fullness" that we do for the pumpkin set.

3) I want it to be easily changed.  If I decide something's not working, or if we have three kids come in instead of just one three-year-old, or if suddenly an unexpected newborn shows up I need to be able to make changes quickly to adapt the set to the situation.  Nothing here is going to get too messed up if a kid runs over it and knocks it down.  Even the fence could have been set back up within a minute.  The whole set took me about 15-20 minutes to design and put together, and every year I look at it while I'm shooting and see things that I am going to do differently for next year.  We never do the exact same set twice, and that keeps things fun for me.

Pumpkinpatch_fullset Here is a pullback of the whole set, featuring Supermodel Charlotte (Cheese).  She is always my lighting model.  Can you tell she's a photographer's kid?  I know someone will ask, do you even see the flowers on the sides?  No, usually you don't.  But I want it to be about as wide as the background because sometimes I get sibling groups, AND because I have a shooting plan (a few full lengths, a few 3/4, a couple of headshots, and then I take the camera off the camera stand and shoot from above, at a tilt -- and sometimes the sides of the background need to be there for that higher angle tilted shot.  I've added an example of that one too.  For more images on the set, check out the Studio Blog.  I'm also adding a shot from last year's Christmas set.

Pumpkinpatch_charlotte_2 Olivia012