About the AuthorAs a trainer for Special Kids Photography of America, Karen Dórame teaches workshops to attendees whose proficiency levels range from just entering the professional scene, all the way up to Master Photographer and Craftsman level. Questions asked by those new to the business led Karen to explore the challenge of collecting helpful money-saving (resulting in money-making) advice from skilled professionals who have learned the business through years of schooling and experience.
CONTENTS
1. Specialize in a genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
2. Make the most of your abilities . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
3. Don’t try to fit a square peg in a round hole . . . . . . . . . . . . . . . . . .9
4. Consider unexpected specializations . . . . . . . . . . . . . . . . . . . . . . . .10
5. Develop a unique style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
6. Plan for success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
7. Impress yourself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
8. Promote your work to those around you . . . . . . . . . . . . . . . . . . . .13
9. Bring in volunteers as models . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
10. Clearly define your fees when you become a paid professional . . .14
11. Compare your work to that of other artists . . . . . . . . . . . . . . . . .14
12. Know what a technically correct image looks like . . . . . . . . . . . . .14
13. Master your craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
14. Practice is the cheapest training . . . . . . . . . . . . . . . . . . . . . . . . . .17
15. Make yourself worth your fee . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
16. Build a resource library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
17. Learn more about photography online . . . . . . . . . . . . . . . . . . . . .22
18. Photography conventions are well worth the investment . . . . . . .23
19. Buying does not equal learning . . . . . . . . . . . . . . . . . . . . . . . . . .24
20. Keep your head about you at the trade show . . . . . . . . . . . . . . . .24
21. Industry magazines keep you current . . . . . . . . . . . . . . . . . . . . . .25
22. Find a mentor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
23. Get advice from the store where you purchase your equipment . .27
24. Join local professional photographers’ groups . . . . . . . . . . . . . . .27
25. Test your mettle in photography contests . . . . . . . . . . . . . . . . . . .27
26. Attend or enter national print competitions . . . . . . . . . . . . . . . . .27
27. Photography safaris and short-term photo schools
serve as vacations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
28. Don’t jump without a parachute . . . . . . . . . . . . . . . . . . . . . . . . .32
29. Join a professional photographic organization . . . . . . . . . . . . . . .32
30. Create a business plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
31. Develop your brand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
32. Know your cost of goods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
33. Raise prices instead of lowering them . . . . . . . . . . . . . . . . . . . . . .34
34. Put off hiring until you can afford it . . . . . . . . . . . . . . . . . . . . . .34
35. Sign on an intern or mentor an assistant photographer . . . . . . . . .35
36. Trade for services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
37. Secure your capital reserves . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
38. Equipment may not be your most important investment . . . . . . .35
39. Consider renting equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
40. Triage your equipment shopping list . . . . . . . . . . . . . . . . . . . . . .37
41. When you get new equipment, thoroughly learn to use it . . . . . .37
42. Save money on small purchases . . . . . . . . . . . . . . . . . . . . . . . . . .38
43. Assemble a small “tool” kit to accompany your camera gear . . . . .38
44. Less expensive imaging software is available . . . . . . . . . . . . . . . . .39
45. Don’t waste time fixing poor captures . . . . . . . . . . . . . . . . . . . . .39
46. Use plug-ins to save time—and images . . . . . . . . . . . . . . . . . . . .40
47. Don’t steal software (but don’t pay full price either) . . . . . . . . . .41
48. Use actions or digital filters to lighten your workload . . . . . . . . . .43
49. Use image manipulation as a sales edge . . . . . . . . . . . . . . . . . . . .43
50. Create an “old fashioned” image in a flash . . . . . . . . . . . . . . . . . .45
51. Paint in Photoshop (without additional software) . . . . . . . . . . . .46
52. Graphics tablets and other hardware can be acquired for less . . . .47
53. Learn new imaging techniques with free tutorials . . . . . . . . . . . . .48
54. Master natural light—it’s free . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
55. Don’t purchase studio lighting without a hands-on trial period . .48
56. Inexpensive daylight-balanced bulbs are a great option . . . . . . . . .49
57. Save time by mastering your camera’s white balance settings . . . .49
58. Use a gray card to ensure correct color rendition in your images . .50
59. Try a white-balancing lens accessory . . . . . . . . . . . . . . . . . . . . . .50
60. Use software as a backup for perfecting color . . . . . . . . . . . . . . . .50
61. Find lighting looks you enjoy, then learn to emulate them . . . . . .50
62. Pop-up flash creates an amateur look in portraits . . . . . . . . . . . . .51
63. External flash is an excellent first lighting investment . . . . . . . . . .51
64. Make a light diffuser for less than $1 . . . . . . . . . . . . . . . . . . . . . .52
65. Build your own external-flash shield . . . . . . . . . . . . . . . . . . . . . . .52
66. Invest in light modifiers. You’ll never outgrow them . . . . . . . . . .53
67. The most clever light enhancer ever—for under $15 . . . . . . . . . .53
68. Use whatever is handy to add or subtract light . . . . . . . . . . . . . . .55
69. Build a small light tent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
70. Create an inexpensive background light/hair light . . . . . . . . . . . .55
71. Use a mirrored acrylic panel as a strong reflector . . . . . . . . . . . . .55
72. Try the freestanding “hunk” reflector . . . . . . . . . . . . . . . . . . . . .56
73. Paint nonmoving subjects with a spotlight . . . . . . . . . . . . . . . . . .57
74. Nuts and bolts help create ingenious lighting solutions . . . . . . . .58
75. Build a “take apart” scrim for studio and location work . . . . . . . .58
76. Use an affordable shop light as a studio light source . . . . . . . . . . .59
77. Take lighting workshops to save time and money . . . . . . . . . . . . .60
78. Where studio lighting is concerned, compare apples to apples . . .60
79. Do you really need a light meter? . . . . . . . . . . . . . . . . . . . . . . . . .60
80. Marketing is an investment in success . . . . . . . . . . . . . . . . . . . . . .61
81. Show only your best work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
82. Be a card-carrying photographer . . . . . . . . . . . . . . . . . . . . . . . . .61
83. Business cards are a waste of money if the type and pictures
are too small . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
84. Create specialized business cards . . . . . . . . . . . . . . . . . . . . . . . . .62
85. Order small batches of business cards with different images . . . . .63
86. Print business cards after each session . . . . . . . . . . . . . . . . . . . . . .63
87. Post a web site as soon as possible . . . . . . . . . . . . . . . . . . . . . . . .63
88. Get on the blog bandwagon . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
89. Postcard advertising pays off . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
90. More spending doesn’t equate to greater success . . . . . . . . . . . . .65
91. Build a resource file of marketing ideas . . . . . . . . . . . . . . . . . . . .65
92. Track your results to determine your success rate . . . . . . . . . . . . .65
93. Send out periodic (not weekly) e-mail announcements . . . . . . . . .65
94. Follow up with past clients to keep them coming back for more . .65
95. Offer gift cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
96. Partner with retail stores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
97. Learn to say no . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
98. Reach out to an untapped market . . . . . . . . . . . . . . . . . . . . . . . .69
99. Create public service/community awareness displays and
volunteer your services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
100. Get free publicity instead of, or before, buying it . . . . . . . . . . . .70
102. Arrange speaking engagements . . . . . . . . . . . . . . . . . . . . . . . . .72
103. Get free marketing advice . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
104. Marketing workshops are good investments . . . . . . . . . . . . . . . .72
105. Improve your people skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
106. Use skits to encourage subject interaction . . . . . . . . . . . . . . . . .73
107. Go on a “no cheese” diet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
108. Learn to inspire great expressions . . . . . . . . . . . . . . . . . . . . . . . .74
109. Collect verbal “smile catchers” and mood makers . . . . . . . . . . .74
110. Always be on the lookout for great images . . . . . . . . . . . . . . . . .77
111. A trained eye is the most valuable tool . . . . . . . . . . . . . . . . . . . .79
112. Don’t take all the advice that comes your way . . . . . . . . . . . . . .79
113. Explore the “unseen” in your photograph . . . . . . . . . . . . . . . . .81
114. Think quick, save a shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
115. Save your leftovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
116. Don’t open a studio until you are certain you are ready . . . . . . .83
117. Think hard before opting for a storefront studio . . . . . . . . . . . .83
118. Consider a quaint or artsy studio location . . . . . . . . . . . . . . . . .85
119. Make good use of your studio’s surroundings
for shooting areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
120. Be on the lookout for objects you can adapt for
photographic purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
121. Effective print displays sell larger wall art . . . . . . . . . . . . . . . . . .88
122. Build a “portrait pen” in your studio or garage . . . . . . . . . . . . .89
123. Construct portable studio risers . . . . . . . . . . . . . . . . . . . . . . . . .90
124. Create a studio on wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
125. Use the great outdoors as you would a studio . . . . . . . . . . . . . .92
126. Create a studio setting in your client’s home . . . . . . . . . . . . . . .92
127. Small items can be photographed in small spaces . . . . . . . . . . . .93
128. Photojournalistic photography doesn’t require a studio . . . . . . .93
129. Don’t underestimate the important role the background plays . .94
130. Seek background inspiration from the masters . . . . . . . . . . . . . .94
131. Create a custom background that suits your subject . . . . . . . . . .94
132. Hunt for public areas that look like expensive designer sets . . . .99
133. “Cool” backgrounds are easy to create using found items . . . .100
134. Create a canvas-like background, starting with only
two colors of paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
135. Old window frames have many uses . . . . . . . . . . . . . . . . . . . . .101
136. Get friends and relatives to do “background checks” . . . . . . . .101
137. Save money on high-end photographic costuming by
skipping sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
138. Take a seat (or not) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
139. Only portions of objects are needed to hint at a “set” . . . . . . .107
140. Soothing a fussy baby with a vibrating pillow may help you
avoid rescheduling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
141. Wearable art serves as mobile advertising for
the photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
142. Offer photo handbags that can be updated as the child grows . .109
143. Consider the high return framing brings . . . . . . . . . . . . . . . . . .110
144. Don’t stock up on frames—no matter how good the deal . . . .110
145. Canvas wraps bring in extra profits . . . . . . . . . . . . . . . . . . . . . .111
146. Albums are expensive. Always collect payment up front . . . . . .112
147. Printed books can be impressive sales incentives . . . . . . . . . . . .112
148. Make a statement with your packaging . . . . . . . . . . . . . . . . . . .112
149. Develop a “hand-over ritual” . . . . . . . . . . . . . . . . . . . . . . . . . .114
150. Use the money you’ve saved . . . . . . . . . . . . . . . . . . . . . . . . . .114
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
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