How to Start a Photography Business
Is everyone always telling you that your photographs are better than the professionals? Maybe you are fresh out of college and are ready to open your studio to start paying back those exorbitant students loans. Whatever stage you are in, you might need some advice on starting your own photography business. Check out these tips to help you get started today.
Pick a niche market, something that you excel in. Being an overall great photographer that uses beautiful photographic backgrounds works, but many professionals chose to focus on one group. Weddings, babies and children, portraits–you decide.
Before you hang out your shingle and start advertising, write a sound business plan. It is best to consult a business advisor or financial strategists to get your five year plan on paper. Armed with a budget and projections, you are ready to find a location.
Location, location, location. Rent, buy or dedicate a room or area of your home to your studio. Be sure that your studio is separated from your living area. Also, once you have the perfect location consult your insurance agent. Be sure that your equipment, furnishings and accessories–like the background papers, stands, lights, etc.–are all covered.
Buy your equipment. It is recommended you get the best equipment you can afford for the type of work you will be doing. Best does not always mean expensive; keep in mind that you get what you pay for.
Establish set prices for your services. This is an area that many new professional overlook. Having established prices helps your work toward your financial goals and eliminates the “freebie attitude” friend and family often appeal to. Remember you have to pay for those back drops!
Market your skills. Post flyers and advertise your new business.
Exposed! Rembrandt Lighting
Many excellent photographers make their best impression by first studying the approaches and techniques of other artists, including photographers, sculptors and painters. The common thread between all of these individuals is the goal of improving the quality of their work and developing a signature style as their career advanced. This is the rationale behind the use of the same four fundamental styles of lighting by professional photography instructors and the premiere photography schools. The four fundamentals of lighting include Paramount, Split, Loop and Rembrandt, named for the famous Dutch artist.
Amanda Nelson Photo
Rembrandt lighting is popular, mainly because it creates an image that has what is known as a chiaroscuro style. Chiaroscuro style is used by different artists, including photographers, to make their work appear more realistic by manipulating highlights and shadows. As a result, images look more three dimensional. Rembrandt lighting doesn’t have to involve the use of artificial light sources, because you can utilize natural or existing lighting for the effect. Placing your subject into the lighting and not the opposite, helps to create a Rembrandt effect.
The most important factor in Rembrandt lighting is the way you place your subject in the light in a way that creates a triangle of light under their eye when you turn their head. The triangle of light is typically found on the eye that lies furthest away from the lens however this is not always the case. Instead of focusing on that triangle, it’s more important to ensure that one side of your subject’s face is well lit by the main lighting source while also creating a nose shadow on the opposite side of their face. The triangle of light under the subject’s eye fades into the shadow on the side of their cheek.
Geometry and its rules play an important role in Rembrandt lighting. The bottom of the triangle that lies under the eye should not be larger than the width of the subject’s eye. The height of that same triangle should be equal to or less than the length of your subject’s nose, vertically. Keep in mind that this does not create a right triangle, so there will be no discernible hypotenuse. Instead, no two sides will create more than a 90 degree angle and no two sides will form an angle of less than zero degrees.
What’s most important is not the exact shape of the triangle but the illusion of depth the image creates.
Portrait Photography and Posing
Portrait photography is in high demand nearly everywhere and your opportunities for repeat customers and new ones is virtually endless. Poses are at the heart of being a successful portrait photographer and there are several very fundamental posing techniques that every photographer should know. These can include, but are not limited to, baby portrait poses, wedding images and senior class portrait poses. Each type of pose has its own specific set of requirements.
Important factors to consider when taking portraits include being aware of subject fatigue. Subjects often have to sit still in awkward or physically challenging positions and may require a break between poses to relax and take strain off joints and muscles. You also want your subject to look as natural as possible, so allowing them to rest between shots can create a more natural result.
Another important technique in taking portraits is to flatter your subject by minimizing their nose. This can be accomplished by standing away from them approximately 12 feet, so that the nose isn’t quite so prominent. Unfortunately, because you’re taking a portrait, you’ll want to fill much of your frame with their face, so you will also need to work with a zoom lens. This usually means working with something like a lens between 90 and 135 millimeters long, if you’re working with a 35 millimeter camera.
Lighting is extraordinarily important for portraits too and using natural light or an umbrella can help soften the light and reduces shadows that are cast on your subject. If you’re a fan of high impact photography instead however, which is dramatic and uses strong light and high contrast, you’re better off working with indoor lighting. This type of portrait is accomplished by positioning your subject at angles that are different from those of the light, such as from one side or even under the subject. This approach helps to make shadows longer instead of making them less prominent and creates a dramatic image. One way to achieve this is by placing your primary light source at a 90 degree angle to your subject’s face. This puts a dark shadow on the entire opposite side of the subject’s face. You can also add shadows and manipulate them in your post processing.
How To Use Strobes And Studio Lighting Pt 2
Adjusting the speed of your shutter to match its recommended sync speed.
If you’re using studio strobe lighting and have several lights joined together using optical slaves and fast synching of 1/500 or faster, your strobes may need a much slower sync speed of between 1/250 and 1/125 in order to align every light for a single shot. The rule of thumb is generally to use the fastest shutter that also provides you with an image that is properly exposed. If you choose a faster shutter speed, you risk a significant loss of light in the resulting image.
Cameras that utilize either an electronic or leaf-type shutter can often shoot images at speeds that exceed the recommended sync speed. As a result, you will experience a lower exposure because the image is unable to capture the entire strobe burst. This technique is useful if you’re interested in images that capture stop action movement, this technique is ideal. As an example, a high-end digital SLR, which naturally has an electronic shutter, can work with strobes at a speed set as high as 1/8,000. The compromise is the amount of light in the resulting image.
Cameras that have a focal plane such as a traditional film SLR, or newer digital models are set to expose the image at or below the rated sync speed.
If your goal is to include the ambient light in an image, choose a slower sync speed.
Placing the Lights
Light placement is as individual as the photographer taking the shot and can be the result of years of practice to get the perfect image.
As an example of placement, set two large reflective umbrellas on either side of your subject and add a single light that shines from above and behind your subject to highlight their hair and contours. Consider adding an object like a Gobo to block out the light coming from behind the subject’s hair, which can create unwanted reflections in your image. This setup should work on a variety of subjects, including people and objects.
No matter how you set up your strobe and studio lighting, there is no incorrect or correct way to take a photograph. The sign of a true photographic artist is their willingness to consistently adjust their use of lights and angles. For your images, keep in mind that the way you light a subject is far more important than the camera you use to take the shot.
How To Use Strobes And Studio Lighting Pt 1
Working with strobes and studio lighting requires an understanding of how to properly use them with your camera.
Connecting Strobes and Studio Lights To Your Camera
Studio and strobe lighting typically comes with a cord that is long enough to plus into your camera’s sync outlet but not long enough to prevent tripping on it. This poses a hazard to your valuable equipment as well as your own well-being. Instead of using this plug and if your camera does not have PC connection terminal, you can purchase a coupler for less than $20. The coupler plugs into the hot shoe of your camera.
Triggering your strobe lighting can be accomplished by plugging an on-board flash with an optical slave that is plugged into your strobe’s power device.
An inexpensive slave attached to your power pack, combined with the on-board camera flash and manual mode can help you take a great shot without unwanted pre-flashes. When using both strobes and studio lighting, try using a lower power setting in order to decrease the drain on batteries and allow the lights to recycle faster. Using just 1/4 power can reduce your flash recycling to match that of your studio lights. If the strobes don’t have enough power to fire, you can raise the amount of power on the trigger flash. Making this change however, won’t affect when your studio strobes fire in response to the same exposure. This occurs regardless of the setting on your trigger flash.
There’s a reason why professional photographers rely heavily on their on-board flash. Adding a ot shoe flash to a professional digital camera adds unnecessary weight that can affect your ability to move around and get a stable shot. Keep in mind however that if you work with a camera model such as a Nikon D70 or D200, you have the ability to use the on-board flash to trigger nearly any brand of slave except those controlled by RF.
Controlling Exposure When taking your shots, no settings should need to be changed and your lighting will be sitting up on stands. Use manual exposure on your camera, because you are required to use it when working with studio strobe lighting. Setting the correct exposure is a matter of settings and adjustments.
An Inside Look : Studio Portrait Lighting Techniques
Proper lighting is a necessity of taking professional looking photographs, including portraits. The knowledge and experience a portrait photographer can offer a client is the main reason they seek out professional services for family portraits, wedding photos and business headshots. Proper lighting used in portrait photography will enhance and flatter the subject’s appearance.
To create proper portrait lighting you need various studio lighting, photographic backdrops, a soft box, reflectors and studio umbrellas.
Photo : Robert Mitchell
Bounce the main light into a photographic umbrella, this will soften any shadows on the subjects face. The main light should be placed to one side at a 45-degree angle from the camera. Avoid the use of strong, harsh lighting which will create an undesired stark look and angular facial features.
Use a soft box on the man light to diffuse it. This is a common practice when shooting portraits for advertising purposes. Place the soft box at a 25-degree angle in front of your subject. To add fill light when using a soft box you can use a reflector board to bounce the light onto the subject.
You can use three lights in your studio when shooting portraits. Place two of the lights on each side of the camera at 20-degree angles. The third light should be placed opposite the main light and slightly behind the subject. Studio lights should be placed in a progressive pattern as they go away from the subject. For example, if the main light is located six feet in front of the subject, your front fill light should be approximately eight feet away.
Fundamentals : Soft Lighting In Portrait Photography
When you invite a client into your studio for a portrait session, clients expect to walk away with a photograph that is a realistic likeness free of flaws and blemishes, of course. Taking portraits that flatter your subject generally lead to happier customers. One way to improve your chances of pleasing your customers is with soft lighting. Soft lighting is much more flattering than harsh lighting. Achieving a perfect balance between harsh lights and soft lights takes some artistic interpretation, practice and technical expertise.
Harsh lighting accentuates minute details that include scars and wrinkles in your portrait subject. It also produces more shadows around features like the chin, nose and eyes. Soft lighting tends to obscure the fine details and produce a smooth, even facial texture for your photograph.
In order to grasp the concept of harsh light and soft light, stop thinking about light as being bright or dim. It is really about being big or wide, and small or narrow. Simply stated, harsh light is smaller, more targeted and soft light is larger. If you are taking photos outside rather than inside in front of a photographic backdrop, consider the outdoor lighting. Full, bright sunshine is harsher than the softer light on a cloudy day. Clouds tend to spread the light-make it broader-whereas full sun without obstruction is relatively direct.
What Is The Gray Zone?
Before discussing how to create soft lighting in your studio, let’s mention another aspect of lighting effects. The term “gray zone” refers to the area between full light and full shadow. Using a hand held light source like a lamp, spotlight or flashlight, point the beam on your backdrop. You will notice that the light gradually fades into shadows. The area between the full light and the shadows is called the gray zone. You can see the band widen and become narrow by moving the light source closer to the photographic backdrop and then further away. The wider this area is, the softer the overall lighting is. When setting up your light sources, check the gray zone to determine if your light is soft enough for portrait applications.
Photo : Gilbert Rossi
Creating Soft Lighting For Portraiture
One way to get a softer light is to move the photographic light source closer to your subject. Another way to expand the light is to bounce your light off an umbrella. The reflection expands the targeted light to the full width of the photographic umbrella. You will often see this technique used in the quick studio settings in local department stores and temporary setups for the holidays.
Professional photographers use other equipment, such as reflectors, reflective photographic backgrounds and diffusers to produce the same effects in their studios and on location. Bouncing light off a wall instead of an umbrella can have the same softening effects.
Exceptional portraits are within your reach. Stock your studio with enough seamless background options and light sources to allow you to accommodate a variety of customers. Utilize the basics of creating soft lighting to flatter your clients. The results are sure to please.
Studio Lighting For Head Shots – Tutorial
This studio lighting tutorial will cover topics of key light, light placement, background and fill light, and camera placement to give your client the best look. A client getting a head shot wants the focus on the face, not a fancy photographic backdrop. This tutorial is demonstrating the use of light.
When developing backgrounds for photography, a black or a dark gray seamless paper works. Key photographic lighting works particularly well if used with a jumbo umbrella. This spreads the light, reflected at a 45 degree angle helping you create a flawless image for your client. Photographic backdrops are used to fit the job; with head shots shorter seamless ones are used.
Photo : Gilbert Rossi
Anyone trying to make their way in the entertainment world has or needs a head shot in their portfolio. Learning to do head shot photography is an important piece of photography and the backgrounds for photography must be chosen carefully.
Developing a great head shot for a customer is an excellent way of making money and getting your photography known. People from many professions require good head shots. If you have the ability to create a photographic image that makes them look great you will be their best friend. Good photographers are represented by their work.
The setting of a key light places light on the hair area particularly dark hair. Since dark topics soak light the added light on the hair is important. Lighting must be placed correctly in order to get the best image possible. Place the photographic lighting significantly to the later part of the forehead. Set the light to touch the head midpoint reflecting toward the back. The positioning of the light must be just right. Too much push forward the nose shines and the eyes go dark; three feet of height above image works great at a setting of an f/4.5 or f/5.6.
Place background light as near to the photographic backdrops as possible, and remember to aim the light at a slight angle; almost pointing straight. My seamless background glow is geared to 1 stop under the key light, this gives the subject distinction.
