Yes, my name is Sal Cincotta and yes, I was the first photographer in the world to really put the Profoto A1 to the test in the field. And yes, I unabashedly LOVE this light. Not because someone has paid me to say it or paid for this post. It's…
As many of you already know, I am a huge fan of the Panasonic GH series, and have been onboard since the GH3. I love the quality and price point of the video that comes off these cameras. It’s incredible. The recently released GH5 is already a workhorse in our studio.
I love Flex lights. They are easy to use, very powerful, cost-effective, they throw great light and they’re extremely portable. They are not just for video. Read my article on commercial shoots in this issue, where I talk about how we used two of the 1x1 Flex Panels to light some food photography.
There is no substitute for speed. Investing in a f2.8 lens is a must for any photographer working events, weddings or portraits. It gives you that extra stop or two of light needed to work in low-light situations. More importantly, it gives you shallow depth of field, so your subject pops off the background. If you are looking for a cost-effective, fast-performing lens, the new Tamron 24-70 f/2.8 zoom is a great all-around lens.
Every time I look at a project, I ask myself, “What’s the story?” In commercial photography, a team of creatives conceives stories around a concept to sell a product. In editorial photography, the subject is the story, and I collaborate with a writer and photo editor to illustrate that person’s story. Then there are personal projects, where I have the opportunity to mix those worlds together. Whether my job is to adapt a story into an image for a client, magazine or myself, or to simply photograph what or who is there, my process involves an interplay of three equally weighted components that make an image work: light, subject and context.
Can emails really drive print sales and increase your bottom line? If so, are you confused why your sales emails seem to go unanswered?Most photographers, especially shoot-and-burners, already use email to deliver online photo galleries to clients. For them, email is simply the easiest way to deliver final image downloads and essentially close the photographer-client transaction. Email delivery today is what burning photos onto CD’s used to be, hence the burn in shoot-and-burn. It feels clean and done. But is it smart?
A commercial or editorial client will likely require editing images for a greater dynamic range. In that case, you will want to know what your editing options are after the shoot. Ideally, you want to work with a tripod to give yourself the most flexibility in stopping down your aperture, staying at a low ISO and taking long exposures. Long exposure sometimes removes your option to shoot handheld. Let’s look at some options for multiple exposures and how we can merge these files.
When I started moving from wedding photography to studio work, one of the appealing aspects was expanding my creativity. As a wedding photographer you’re creative, but you’re limited to the wedding world. As much as you may want to go outside the box, you’re still photographing a wedding. Once I moved to studio photography as my main source of income, I realized I was still in the same boat, just in a different-themed boat. Instead of being boxed into weddings, I was boxed into headshots and standard commercial shoots. In order to exercise creativity, which is so important to any photographer’s career, I had to arrange shoots of my own.
Enter “how to become a commercial photographer” into Google, and most of the results are subpar at best. Most commercial photographers say they just fell into it, while others are much more secretive. As a photographer who’s worked alongside some amazing advertising agencies and brands, I’m going to tell you how to start and why it’s not as glamorous as you might think.
Commercial photographers capture images that will be used to make their client money. If Procter & Gamble hires a photographer to produce images for its latest Tide campaign about how its product gets whites whiter, then the photographer must create images that convey that message. This is usually the highest-paid type of commercial work. The finished works are tear sheets. You find the images in magazines and on signs and websites. Commercial photographers are paid each time their images are used for an agreed amount of time.