Drama.

On a bright cloudy day today, I looked like this:

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Wait. A bright day?

Yes, and that is the point of dramatic flash photos. I taught a workshop today, a hands on workshop, on the three basic modes of flash: “party”, “studio” and “outdoors”. This takes time, and “doing it” is the only way to learn. Today’s two students really learned.

Yes, in a few hours you can master flash. You still, of course, have to practice and refine, but you will do that yourself after the course. Contact me if you are interested in a private “Dutch Masters” course. A few hours and you are master: see http://learning.photography for more details.

In the mean time: one tip to my readers. If you want to be extra dramatic as in the image above, and it is bright, you need a lot of flash to “nuke the sun”. To achieve that, remove the modifiers (e.g. the softbox or umbrella) and use direct flash.

Just one of  the things you learn from me, my books, and my courses.

 

Pro pricing: A note to pros.

There are continuous discussions on photography pricing. I lost several shoots recently due to “our director has a son who has a camera too, so he can do it”, because it is hard to argue with “free”.

But not impossible.

First, there’s the quality. Then, the reliability, the equipment, the speed of delivery, the options for delivery, and the list goes on.

But internally, there’s the decision of “how to price”.

So here’s four things you need to take into account when pricing your work.

  1. You cannot go up from being a McDonalds to an Exclusive Bistro with three Michelin stars. Trust me on that. McDonalds may try but it will not work. So if you start as a cheap photographer, that is what you will remain as.
  2. What is the regular competitive pricing in your market? You do not have to follow it but if you are far away from it, you need good reasons. Very good and clear reasons. If others ask $100 for a portrait, can you ask for $800? Only if you have those clear, good, valid reasons.
  3. What will the market bear? Contradicting the previous slightly (but there is overlap), if people want to pay $2,000 for a picture of pet poodle Fifi, because they love Fifi and want utmost quality, who are you to argue? There will always be a Rolls Royce, even though a Kia gets you from A to B just as snugly (well, almost) for about  a hundredth of the cost.
  4. An important one: your real cost. As a photographer you are running a business, not a charity. Work out how much that shoot really costs you. Work out your true cost (including a new camera every three years; spares; driving and parking; heating and electricity; the works). Then work out how much you are actually getting per hour. Do you want to work for half of minimum wage? If so, go for it. But if not, don’t go there and set realistic pricing.

Notice I did not say “how you feel about it”, or even “how good you are”. If you are good enough to charge a price, you will get that price, If not, you will not. But do not second guess the market, The market is king, because your customers are king.

You need, therefore, to set prices that meet all the above criteria.

This may help:

  • Price shoppers are not loyal. They will abandon you at a second’s notice. You want people who want quality, art, reliability: the things you supply.
  • Compare yourself to a plumber, a washing machine repair man, or a dental hygienist. Are you placing yourself that much below them? I paid a repair man $100+ for a three minute fix, recently. Worth it to me because else I could not have done laundry. I pay a hygienist whatever it costs to clean my teeth.
  • If you can convey the fact you are providing great value, you can ask for reasonable prices and you will be paid.
  • Think “This is the price. You do not have to pay it!”.
  • And finally: keep in mind what others charge, and do not go below it unless you are sure you can meet your actual, real, cost.

If you do all this, you will provide wonderful art at reasonable prices and you will have long term customers.

 

Summer is (almost) here

And with that, go outside and bring your flash!

You can learn from me this coming Monday, in Burlington. It promises to be great weather. Or you can learn in Brantford on Sunday, even earlier.

Either way: learn how to use a flash in outside light. To do that, buy my flash book, come to these courses, and in all cases, start here:

  • Manual
  • 100 ISO
  • 1/250 sec (or 1/200)
  • f/8

Then check background, and adjust only aperture. If flash is not bright enough, turn up power, remove modifiers, or bring it closer.

And have fun.

Here’s an example of outdoors on a sunny day:

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Benefits: You get no annoying sunlight, and you avoid those horrible overexposed backgrounds. And you can direct the light. Control is everything!

 

Just now in Ajax.

So I just taught part three of a flash course in Ajax, Ontario.

In an excellent day, Ajax Photography Club creative Director Ron Pereux had arranged five of these:

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Yup, brides!

And with very simple equipment we did some fun, creative shots using gels, snoots, softboxes (the excellent Honlphoto gear – use checkout code “Willems” for 10% off), umbrellas, and grids.

Some of the work needs some post-finishing when conditions are not right. Look at the backdrop:

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And look at the finished product. Yup, a slightly more traditional photo:

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And a more edgy photo, the type young brides are more likely to love, full of feeling:

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Or even edgier:

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Shooting brides is fun, and today I was able to help the Ajax club with a lot of very practical easy to put into practice tips and techniques. Flash photography is so easy once you know it, and so rewarding once you know how to do it well. Take a course – if not from me (http://learning.photography), then from someone else who knows his or her business!

 

Workshop and then some

So tonight I did a great workshop in North Toronto. Great because the six participants were very enthusiastic and they really, really got it.  That’s how it goes when you:

  1. Hear it a second or third time
  2. Practice it yourself rather than just listen.

And that is what tonight was about.

You can have a lot of fun with one flash. In this case, one flash with a grid. Off-camera and fired with Pocketwizards.

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Two flashes, one with an umbrella on me, and one with a chocolate Honlphoto gel on the background, gives us yours sincerely:20160505-1DX_8145-1024

You like that? Then learn some flash techniques from me, any time. It’s all just technique, as Peter West once told me. True say!

 

85mm f/1.2 all the way

One of my favourite lenses is the Canon 85mm f/1.2 lens. 

A prime lens forces you to think about composition. It also allows you to blur backgrounds beautifully. And to shoot in low light. It is also consistent: prime means “set up one shots and all similar shots are the same w.r.t. things like depth of field and tolerance of motion blur”.

85 is a short telephoto lens, which is great for portraits. You can get close without getting too close, and you need no great big spaces. Perfect length.

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You can make images with extremely shallow depth of field. Especially when you choose to get close:

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This lens is great for outdoors portraits, but also indoors.

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You get a typical compressed telephoto look—without it being extreme.

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The 85mm f/1.2 is sharp, very sharp.

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It is very sharp, with beautiful bokeh, and the manual focus mechanism, being electronic, is the smoothest I have used, ever. Yes, it autofocuses also.

This is my favourite lens now, I am safe in saying. For many purposes: not just portraits. More later.

 

PS I am doing a studio lighting workshop tomorrow, Sunday 1 May. Just saying. I need signups to go ahead, but not many—it is limited to 4 participants.

 

Learning Flash: Two New Opportunities

A good knowledge of flash lighting is the key to artistic and other professional photography. Good news: I have two new opportunities for Flash learning!

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Outdoors flash: essential for artistic photos
 

Both of these hands-on courses will be held in (or as the case may be, outside of) my Brantford studio.

Sunday May 1, 11AM: Studio Shooting

Sunday May 22, 11AM: Mastering Outdoors Flash

Both have limited availability: 4 and 7 students maximum, respectively. So sign up, and meet you in Brantford, 20 minutes west of Hamilton.

Raw facts

..and another reason to shoot RAW: several functions in Adobe Lightroom do not work, or do not work consistently, when you shoot JPG pictures.

These include

  • Generating  the XML files that optionally copy the information separately for each picture in the catalog;
  • Profile corrections in Lens Corrections.

There’s probably more. So if you needed more reasons to shoot RAW, there you go.

On another note: how many flashes do you need for creative flash photos?

One. Like here. A speedlight with a Honlphoto honeycomb grid attached to it.

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Or two:

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And there you go!

Left right left right

Did you know that we are left- or right eared and eyed just as much as we are left- or right-handed? Odd thing, the brain.

Why is this important? Because of how you look through your camera. If, like me, you use your left eye, your right eye looks at the back of the camera. If you use your right eye, you have to squeeze your left eye shut, or you can use it to get an overview of the scene.

What are you? The vast majority is right-eyed and -eared, or if left handed, the opposite. Some, like me, are right agreed but left eared and left eyed.

Check it out now. How do you look through your camera?

Tonight I am talking about Creative Flash at tthe Etobicoke camera club. Check it out. Humber Valley United Church … Islington & Rathburn. $5 for non members. See you there perhaps?

 

 

Photography and you and me

Here’s how it all started:

www.economist.com/blogs/prospero/2016/04/history-photography

And still, we learn. Last night:

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Only I was not upside down. Thank WordPress and its tablet interface.

the meeting, attended by 100 photography enthusiasts, was about the Photographer’s Workflow. I outlines best practices and tricks and tips. Fun.

Interested? See me Monday evening at the Etobicoke Camera Club, teaching Creative Flash.