It’s an exciting time for hobbyists, but before becoming a professional photographer, have a look at some professional photography tips to kick start your career.Read More
When you’re taking shots of wildlife, it’s very easy to end up with ‘record shots’ rather than what a friend of mine calls ‘printables’ - in other words, pictures that you’d be happy to print and hang on your wall. So what makes the difference? In this article, I’ve tried to suggest a few alternative techniques that should make your images stand out from the crowd - or herd, as the case may be!
In the early days of my photographic career, I used to take a lot of portraits - both of animals and of people. Now, that’s fine as far as it goes, and I like to think I took some pretty good shots, but these days I like to focus on action shots. Why take a simple shot of a ‘bird on a stick’ if you can wait for the crucial moment and capture it in flight or with its wings outstretched just about to land?
I was lucky with this shot. I was actually trying to take a run-of-the-mill portrait of the bird when it suddenly fluttered its wings just as I pressed the shutter release. I ended up with an image that was chosen by Outdoor Photography for a double-page spread!
In this case, the bird co-operated nicely, but it doesn’t always happen. What if the animals don’t co-operate? What if they just sit there and don’t do actually anything? Well, it is possible to increase your chances of getting action shots. One thing you can do (if you’re in Africa) is to follow the big cats around. Normally when you’re on safari, you drive around and then stop when you see an animal, take a few pictures and then drive on to the next one. Rinse and repeat. That’s what I did on my first four or five safaris, and I didn’t see a single kill! On my next trip, though, I went to Kicheche in the Masai Mara with Paul Goldstein, and the experience was very different. Paul paid out of his own pocket for a ‘spotter’ in a separate vehicle to radio in the location of any leopards, cheetahs or lions that he saw. Given that knowledge, we were able to find a group of cats to follow every single day. But it didn’t end there. Rather than just taking a few portraits and moving on, we stayed with the animals. Granted, there were some occasions when they didn’t do a great deal for half an hour or even an hour, but we kept at it, and eventually I saw five kills! That approach might not be for everyone, but at least it gives you a much better chance of getting that elusive ‘action shot’. And even if the animals aren’t actually chasing prey, you can at least wait for what Henri Cartier-Bresson would call ‘The Decisive Moment’. It might be a lion yawning or a warthog scratching its ear - whatever the activity, it’s a lot more interesting than the kind of awkward snap that would look better in a High School yearbook!
I learned this technique from Paul Goldstein, who’s a wildlife photographer and tour guide for Exodus. He’s a big fan of using slow shutter speeds to capture animals in action, and the results can be spectacular. Most people would use a high shutter speed of 1/1000 of a second or more to ‘freeze’ an animal or bird in motion, but the slow pan does the reverse. The problem with freezing the action is that you don’t get a very great sense of energy or movement. What the slow pan tries to do is bring that back by blurring all the non-essential elements, including the legs (or wings) and the background. What you have to do first of all is choose the right shutter speed. It will be slower than you’re used to using, so you have to be brave, but it also varies depending on the speed of the animal and the angle of its approach. If it’s a cheetah at full speed running straight across your field of view, the right shutter speed might be 1/80 or 1/100 of a second, but it might be as slow as 1/4 of a second for a walking elephant. The higher the speed of the animal, the higher the shutter speed you’ll need, but the angle also matters because getting the right blurred effect depends on the relative motion of the animal and the background. If it’s running straight towards the camera, there is no relative motion at all: the animal is not moving relative to the background, so the shot won’t work. You can obviously experiment as you’re shooting, but here’s a rough guide:
Walking animal: 1/6s
Running animal: 1/13-1/20s
Birds in flight: 1/80s
Cheetah running: 1/80-1/100s
Once you’ve chosen your shutter speed, you just need to check that the aperture and ISO settings are okay, too. How you do that obviously depends on whether you’re shooting in manual, aperture priority or shutter priority (or any other mode), but these slow shutter speeds let in a lot of light, so you may have to stop down the aperture or reduce the ISO all the way to 100. The flip-side of letting in so much light, of course, is that you can slow pan to your heart’s content even in very low light conditions, so that’s another reason to try it!
What you’re trying to get is a shot in which the eyes and head of the animal are sharp (-ish) while the legs and background are a creamy blur, so technique is important here. It’s obviously easiest with a tripod - particularly one with a gimbal-head design that is ‘damped’ to avoid camera shake - but most of us don’t have one of those, and you couldn’t use it in a safari vehicle anyway! There are a couple of alternatives. If you’re in a Land Cruiser or something similar, you can stand up and rest the lens hood on the frame of the car - ideally on a beanbag. If you’re on foot, you have to press the camera against your forehead, tuck your elbows in at your sides and turn from the hips. It’s not easy, so you might want to practise on cars on something before you make your trip! I learned the slow pan in Spitsbergen from Paul Goldstein, and I remember spending the whole day in a Zodiac taking slow pans of kittiwakes and guillemots: out of 1,500 shots, I only kept four! So why bother? Well, you don’t care about the 1,500 that didn’t work when you find one that did. I went on another trip with Paul to Kicheche in the Masai Mara, and I was determined to come away with a decent slow pan shot of a cheetah. In fact, I got quite a few, but this was my favourite. You be the judge…
There comes a time in every game drive when you wonder if any of the shots you’re taking are any good. “I’m just taking the same pictures as everyone else,” you think. “How can I be different?” Well, the answer sometimes comes in a flash of inspiration. When I was in the safari park at Cabárceno in northern Spain, I was taking pictures of the giraffes in their enclosure. They came right up to the fence, and the sun was behind them, so it was a bit awkward to get a decent shot. It was then that I thought of underexposing them to get a backlit silhouette with rim lighting. I positioned myself so that the sun was right behind a giraffe and underexposed by two or three stops. I played around with it in Lightroom afterwards, darkening the background and taking out any remaining detail in the neck of the giraffe, and this was the result:
The image was runner-up in The Daily Telegraph's weekly Big Picture competition and earned over 2,000 likes on Instagram!
Day for night
When filmmakers want to shoot a scene that’s supposed to take place at night, they sometimes do it during the day and underexpose the images, perhaps adding a blue filter for effect. This is called ‘day for night’ or ‘nuit Américaine’. I first tried it when I was on a game drive in Tadoba, India, and overheard Paul Goldstein telling one of the guests in his truck to underexpose the tiger in the water hole. At that point, I thought to myself, “Go big or go home!” So I decided to underexpose by three stops - that’s the equivalent of cutting out up to 7/8 of the light required for a normal shot. It was nice and sunny, and the sun had been beating down on us all day, but that meant any shots of the tiger were a little bit dull. What I wanted to do was something completely different. I wanted to create some mystery in the darkness, paint in a little light and shadow and pretend that the tiger was in a pool in a cave, illuminated by a single beam of sunlight from the entrance. I’ll leave it up to you to decide if I succeeded or not, but Paul thought this one was good enough to go in the Exodus calendar in 2018…!
One of the problems with going to a national park in Africa is that you always have to leave at sunset. That means it’s very difficult to get any shots at what should be the ideal time of day. One of the advantages in going to a place like Kicheche is that it’s in a ‘conservancy’, which means it’s owned by a group of landowners, and that in turn means that you can stay as long as you like. What we used to do with about half an hour to go before sundown was to pick a spot on the brow of a hill, find a group of animals and park so that we could all get out and take pictures. We did that almost every day (except when the clouds rolled in), and we ended up with some great shots. One of the good things about taking silhouettes of animals against the sunset is that you don’t have to do much with your camera settings. The camera is ‘fooled’ by the bright sky into believing that it has to underexpose, and that means the animals are automatically turned into silhouettes. The one thing to remember is that the horizon should be very low down in the frame - it’ll be pitch black anyway, so there’s no point in showing more than a thin strip at the bottom. Just make sure you pick an animal with a recognisable shape and in the right position to get a clear silhouette with no overlapping body parts and no other animals in the way.
Slow shutter speed portraits
People often say that you should use a wide aperture when taking portraits of people or animals so that the subject is ‘separated’ from the background. However, one of the problems with that approach is that you get left with a thin strip of the frame in which not just the subject but everything else is in focus. For example, imagine a shot of a lion lying in a field of tall grass. Yes, the lion is sharp (hopefully!), but so is a long line of grass. The result is that we don’t get a smoothly blurred background and foreground. One way around that is to use a slow shutter speed such as 1/8 of a second. It only works, obviously, if the grass is swaying in the wind, but, done correctly, it will give you a perfectly sharp subject isolated in a sea of creamy blur.
Black and white
There’s an old joke in photography that says, “If a picture’s no good, just turn it into black and white!” It’s not true, of course, that you can rescue just about anything like that, but black and white is a different medium, and it emphasises different things. If your picture looks ‘cluttered’ because there are too many competing colours, for example, then that problem can easily be solved by a switch to monochrome, which emphasises patterns, shapes and textures. I don’t use black and white very much in my wildlife shots, but elephants are a special case. For a start, they’re grey rather than colourful, but they also have the potential to show great texture in their wrinkled skin. I once took a shot of an elephant in Tanzania with the ‘wrong’ lens. I was using my 800mm when one of the elephants came a lot closer. I couldn’t fit everything into the shot, and I ended up with the animal’s eye far too close to the edge of the frame. However, I cropped it so that the tusk at the bottom was equally close to the edge and turned it into black and white, pushing up the Dehaze and Contrast sliders in Lightroom. What do you think…?
When it starts raining or snowing or sleeting or hailing, most photographers head home, but - if you’re willing to put up with getting a bit wet - you might find it’s worth staying out in the storm in order to take more unusual pictures. There are plenty of shots out there of lions lying in the sunshine, but not so many of lions in the pouring rain with water dripping off their manes! Whether you’re trying to sell your work or just find something to put on the wall in the downstairs toilet, it pays to be different. I went to Brooks Falls in Alaska once and had to put up with the most miserable weather. It rained the whole day at one point, and it was generally cold, wet and miserable, but - and this is a very big but! - I ended up with the best picture I’ve ever taken in my life!
I like wildlife shots with black backgrounds as they’re so rare and striking. Most of the time, I’ve had to create mine in Lightroom, but that’s not always necessary if you’re able to photograph at night. These days, a lot of safari companies offer evening game drives after sunset, and some may even shine torches or floodlights on the animals to allow you to take pictures. I was once in the Brazilian Pantanal driving home from a boat ride to see the jaguars when we heard there was a giant anteater right next to our lodge. We rushed home - over a VERY bumpy road! - and found it walking around with a baby on its back. It was long past sunset, so it was virtually pitch black, but one of the staff was lighting it up with a torch. Anteaters don’t have very good vision, so we were able to get incredibly close. Having said that, taking pictures was still very difficult. One of the guests ended up with nothing at all (after he forgot to take his lens cap off!), and I found it very hard to get the right shutter speed and aperture settings. Our guide Andy Skillen showed us the way by getting a beautiful close-up of the baby anteater on its mother’s back, but I had to delete all my efforts!
The closest I came to finding out the secret of night photography was when I went on a photography workshop in Cabárceno with Marina Cano. She promised us ‘the secret to getting a black background’, but she didn’t tell us immediately. We had to wait until the next day to find the answer. There were a few zebra next to an empty shed, and Marina threw some bread inside to tempt them to go in so that we could get some shots of them with a dark background. “So what’s the secret?” I asked. “Bread!” she said.
Whenever I get back from a trip abroad, I show my favourite pictures to my friends, but I always have the sneaking feeling that they’d prefer to see videos instead! I’m a wildlife photographer, so I obviously focus on taking photographs, but I still take video every now and again. I have a choice between my DSLR, my GoPro or - at a pinch! - my iPhone. The picture quality of all these devices is pretty good, but the main thing to worry about is camera shake. It’s bearable if you’re using a GoPro or a camera phone because of the wide angle of the lens, but trying to take video with a long lens on your DSLR without a tripod is a recipe for disaster!
Hmm, good question...
The obvious question for a lot of amateur photographers is 'How do I make money from photography?' The answer, unfortunately, is that I don't know. All I can do is tell you what I've done and give you a few ideas. I'm still learning the business after just four years, but my approach has always been to knock on as many doors as possible, whether it's microstock, exhibitions, competitions, lessons or even talks. Every source of revenue has its part to play, and it's just a question of working out where to focus your efforts. I make just under half my money from microstock/stock agencies and half from exhibitions, but everybody's different.
Nick Dale Photography
I loved photography when I was a teenager. I bought (or was given) books on Henri Cartier-Bresson, Alfred Eisenstaedt, Ansel Adams and other great photographers, and I even bought myself an old Chinon CE-4 film SLR. I remember buying two 36-exposure films for it - one colour, one black and white - and using up every single frame in a couple of hours just taking pictures around the house! I took my camera on holiday to Majorca and the United States, developed pictures in a dark room at school and even talked to my mum about becoming a professional photographer. However, my mother said I could always take it up later – so that was that for 30 years! Fortunately, I was given a second chance in January 2013 when a friend of a friend invited me to climb Mount Kenya and go on safari with her and a couple of other people. I'd always wanted to go to Africa, but I'd foolishly been saving it for my honeymoon! As that didn't seem very likely, I jumped at the chance.
My first digital camera was a Sony DSC-HX200V bridge camera, which means it had a good zoom range (both optical and digital), but not a very large sensor. As a result, it was only around £300 and therefore cheap enough for me to buy without worrying too much. Fortunately or unfortunately, a week in Kenya with people using proper Nikon SLRs gave me camera envy, and I bought a Nikon D800 SLR with a 28-300mm lens as soon as I got home!
And that was how it all started. I took hundreds of pictures in Kenya of the people, the landscape and especially the wildlife. When I got back, I bought an Apple MacBook Pro to work on them, upgraded the editing program to Aperture and then sent them off to various microstock agencies to see if they would help me sell them. It was hard at first, but getting the new camera helped, and I had a cash pile from remortgaging my flat in Notting Hill after another property purchase fell through, so I was able to go on plenty of trips to take more and more pictures.
An important breakthrough came when I sold a couple of prints for £100 each at my local tennis club's Christmas Fair in November 2014, and another photographer told me about a cheap exhibition space called the Norman Plastow Gallery in Wimbledon Village. I'd always thought it would be very expensive to mount an exhibition, but this place was only £70 for a week, so I booked it as soon as I could! The only problem was that I didn't have any actual prints to sell, and here I was very fortunate. I'd recently joined the Putney branch of London Independent Photography (or LIP), and there I'd met a very friendly and helpful chap called James, who'd offered to do all my printing for me at very low cost. After buying a few cheap, black, wooden frames from Amazon, I was all set. I invited all my friends to the exhibition in May 2015 - especially a group of tennis players from my club - and I ended up selling seven prints. As I was just starting out, I'd priced the small, medium and large framed prints at £80, £100 and £120 and the unframed ones at only £30, but I still managed to make £550 in total. The gallery hire charge was £200, and there were a few taxis to pay for plus incidental expenses, but the show actually turned a profit - unless you count the thousands of pounds I spent on buying camera equipment and flights to Kenya, Botswana, Antarctica and the Galápagos!
And there's the rub. It's relatively easy to generate revenue from photography, but actually making a profit out of it is another matter entirely. As a result, I have nothing but respect for the photographers I meet who have managed to make a career out of it. I've been on trips led by Paul Goldstein and Andy Skillen amongst others, and, in a way, that's where I'd like to end up. Since that first show in Wimbledon Village, I've sold nearly 5,000 downloads through microstock agencies, sold 36 prints at solo exhibitions and art fairs, taught five photography students and given two or three talks to various clubs and societies. Overall, I've made around £12,000 from my photography - but that wouldn't even have paid for my trip to Antarctica!
The problem is that everyone has a camera these days - even if it's just an iPhone - and it's almost 'too easy' to take pictures now that cameras are digital. The world is also a smaller place these days, with the arrival of cheap flights and a general rise in income and wealth. It takes a special talent to make it as a photographer, and part of that talent is being able to make the most of it.
What do I need to do first?
- Buy a camera
If you want to make money out of photography, your first job is to get yourself a decent camera, and that means a digital SLR (or DSLR). The easiest way to earn cash is through so-called microstock agencies - which means selling pictures online in exchange for royalty payments - and they usually require shots to be taken with a camera that has at least 12 megapixels, if not more. You can obviously try to sell holiday snaps from your 'back catalogue', but, as I found out to my cost, it ain't easy. Once you've decided to buy a DSLR, the two main brands to choose from are Nikon and Canon. There isn't much between them these days, and the only reason I chose Nikon is that I didn't want a camera from a company that made photocopiers! They both make good lenses, but, unfortunately, they have different mounts, so one you go with one or the other you're locked in. I have various lenses ranging from an 18-35mm wide angle zoom to a 105mm macro lens for close-up work to an 80-400mm mid-range zoom, but I also rent an 800mm lens from Lenses for Hire whenever I go on a major wildlife photography trip.
- Buy a laptop
If you don't have one already, buying a decent laptop is great for photography. I take mine with me on all my trips, and it means that I can work on my images every evening after I get back from a shoot or a game drive. I should warn you, though, that the so-called RAW files from digital cameras are very large (in the case of my camera over 40MB each!), so I'd recommend getting as fast a processor as possible and as much memory and hard disk space as you can afford. You should also arrange a back-up system: the last thing you need is for your life's work to disappear thanks to a software glitch! You could use an external hard drive, but I prefer backing up to the cloud just to be on the safe side. I use CrashPlan, which automatically detects any added, edited or deleted files and backs up the changes in real time, but there are other similar products out there.
- Subscribe to Lightroom
Adobe Lightroom Creative Cloud is the choice of professionals and serious amateurs for organising and editing their photographs. It only costs around £8 a month (including Photoshop), and it's a very powerful tool, as well as being relatively easy to use once you've mastered the basics. Digital photographs never come out of the camera looking perfect, so it's always a good idea to try and improve the contrast, highlight and shadow areas and anything else you need to. If you're selling through agencies, you'll also need to add titles, captions and keywords (plus any other fields you're asked to fill in), and all that is possible with Lightroom. It's a pain to do for each individual photograph, but you can 'synchronise' any changes you make across a number of pictures, and you only need to do it once. If you've never used it before, I suggest you to do what I did and watch Anthony Morganti's series of free YouTube videos on Lightroom. He takes you through all the functionality, and it's an easy way to learn.
- Start taking pictures
If you're a wildlife photographer, this is just a euphemism for 'spend thousands of pounds on trips to long-haul destinations'! However, you don't have to travel far to take pictures. Whether you're a landscape, portrait, Nature, fashion, wildlife, wedding or sports photographer, there's always something photogenic not far from home, and you simply have to have the enthusiasm (and discipline) to be able to get out there and take more and better shots. Quality and quantity are both important. The quality of your images is ultimately what matters, but even a shot that'll never win a competition might earn you money on a microstock site. I give my shots three stars if they're good enough for Facebook, four if they're good enough to be sold via agencies and five if they're good enough to go on my website.
- Start marketing your work
As a photographer, you have to learn to talk the talk as well as walk the walk. If you want to be taken seriously, you have to cover the basics, which means building a website, printing out business cards and having an active presence on social media. You can't expect to win a bid for a photo shoot if you're still using an old Hotmail address! Personally, I have this website powered by SquareSpace plus a Facebook 'fan page', a YouTube page, a LinkedIn account and a Twitter feed, all of which are printed on the back of my business cards. I post articles on my blog about photography trips, exhibitions and useful techniques (which also appear on Facebook, LinkedIn and Twitter), and I tweet and retweet a 'Shot of the week' (which gets fed through to my Facebook account as well).
Yes, but how can I make money?
Microstock agencies are online intermediaries that accept work from photographers and then market those images to potential clients such as creative directors of newspapers, magazines and other buyers. The advantage of using them is that it's 'making money while you sleep', in other words, it's a passive income that you can build over time as you add more and more shots to your portfolio. Some agencies sell a lot of images but with low royalty rates, some the reverse, but here is the list of the ones I've used (in descending order of sales):
Fine Art America
I should mention that not all agencies will accept you, and not all your shots will be accepted by any agency that does, but you shouldn't take it personally. I've had over £5,000 in microstock sales since 2013, but my overall acceptance rate is only 41%! Even if your pictures are accepted, of course, that doesn't mean they'll sell. I've had around 7,000 downloads from microstock sites, but fewer than 2,000 individual shots have ever been sold out of a total of more than 5,000. The rest of them are just sitting there, waiting for a buyer. If you're lucky, though, you take a picture that does go viral, and I've sold my jumping penguin over a thousand times (see above)!
The basic process is similar across all agencies. You add titles, captions and keywords to all your pictures and then export them as JPEG files to upload to each individual agency via their websites or an FTP service using a program like Filezilla. You then typically add the category, country or other data for each of them and submit them for approval. The agencies then approve the ones they like and reject the ones they don't. After that, it's just a question of watching the money rolling in! A useful way of doing that is by downloading an app called Microstockr. All you need to do is to set up your various agencies on the accounts page and then check the dashboard every now and then for any sales you've made. It's very addictive! Sales should come quite soon after each batch is uploaded, but you may have to wait a while for payment. Most agencies have a 'payment threshold' of $50 or $100, which means your first payment (usually through PayPal) might take months to arrive. You'll also need to keep adding more pictures. Buyers tend to sort images according to what's most recent, so you definitely get diminishing returns from your shots, however good they are.
The other thing to say is that, with dozens of agencies and hundreds or even thousands of images, it gets very confusing. As a result, I've created a spreadsheet to keep track of the whole thing. With filenames down the left and agency names across the top, I know if each file has been uploaded ('u'), submitted ('s') or accepted ('y') and how many times it's been sold. I keep a record of the dollar value of all the image downloads on a separate financial spreadsheet. I suggest you do the same.
- Stock agencies
In the good old days, it was much easier to make a living out of stock photography, mainly because the royalty rates were a lot higher. The difference between 'stock' and 'microstock' is simply the average price level. Stock agencies want to differentiate themselves from microstock agencies (and everything else out there on the web) in order to charge a higher price, so they generally ask for exclusive agreements over one to five years and set a higher standard for acceptance. I use Design Pics, and you can see that they sell my images for hundreds of dollars rather than just a few dollars for the microstock agencies. My general strategy is to offer Design Pics the first pick of my pictures before sending the leftovers to all the microstock agencies. (I've also submitted some flower images to flowerphotos and a few marine wildlife shots to SeaPics, but I haven't seen any sales from them so far.) Due to the long sales and reporting cycle, I didn't see my first sale from Design Pics until more than a year after I'd signed up, but sales are starting to trickle in now, so it just takes a bit of patience.
If you're looking for a list of stock agencies, I recommend buying the latest version of Photographer's Market, which is the equivalent of the Writers' and Artists' Yearbook. It has comprehensive coverage of the industry, including helpful articles and a wealth of phone numbers and email addresses for magazines, book publishers, greeting card companies, stock agencies, advertising firms, competitions and more. I suggest buying the Kindle electronic version, and then you can download everything on to your laptop. I did that and then simply emailed every stock agency on the list - Design Pics was the only one to say yes!
If you just want the ego boost of seeing yourself winning a competition, then I suggest you sign up with Pixoto and enter the contests with the lowest number of entrants. It's a peer-to-peer site, and you can organise your own competitions, so there's a very good chance of winning something! That's exactly what I did, and I ended up with the Judge's Award in four competitions. However, there isn't much prestige to something like that, and it certainly doesn't earn you any money. Alternatively, you can scour the 2017 Photographer's Market for competitions, bearing in mind your chances of winning, the cost of entry, the potential prizes and the subject matter. The UK national press is a good place to start, too, and I recently won £250 in Wex Photographic vouchers in the weekly Sunday Times/Audley Travel Big Shot competition.
Putting on an exhibition may seem like a big deal if you've never done it before, but it doesn't have to be expensive or time-consuming. The Norman Plastow Gallery where I started out is cheap, but it's slightly off the beaten path, and you have to man the exhibition yourself, which is obviously impossible for most full-time employees. You realise pretty soon as a freelance photographer that the most expensive item on your tab is often the opportunity cost of NOT doing what you usually do when you take time off. As a tutor, for instance, I could easily have earned £1,000 during the two weeks of my first exhibition, but them's the breaks...
If you're looking for a list of galleries, www.galleries.co.uk is a useful starting point. London is obviously the best place to look, but exhibition spaces there don't come cheap. I recently looked for galleries to use for an exhibition, and the ones in central London regularly quoted me thousands of pounds for a week! Everything is negotiable, though, so don't give up.
I started out with 15 prints at my first solo show, but I also printed out a few postcards and greetings cards. You might not make as much money out of them, but at least you'll get something from punters who can't afford a print. There are some who say that cards are just a distraction, but it's so difficult to tell. I've had exhibitions with and without cards on sale, and it doesn't seem to make much of a difference. However, the main reason for an exhibition is to sell prints, so that should be the focus.
One of the problems you'll almost certainly have is knowing how to price your work. Choosing your favourite shots is easy enough - although getting a second opinion from a friend is a useful exercise - but how much should you charge? I started off at £80 for an A3 print and ended up three years later at £2,000 for a 53" x 38" print, so you'll just have to suck it and see. Andy Skillen suggested a mark-up of two-and-a-half times your printing and framing costs to make sure your cashflow remained positive, but that's just a rule of thumb.
- Photo shoots
Proper professional photographers make most of their money from photo shoots, but clients aren't easy to find. If you're a wedding photographer, I suppose you can put up flyers at various local venues such as churches and registry offices, but, for the rest of us, it's just a question of plugging away, taking as many good shots as we can and putting them online so that as many potential clients can see them as possible. It would be a dream to be able to rely on commissions from wealthy clients who called us up whenever they wanted pictures of something. A photographer told me once about a group of directors who asked him for a picture of five hippos in a lake looking at the camera. He sent them all the hippo shots he had, but they weren't happy. In the end, he told them if they didn't want to compromise on the picture, then they'd have to send him on an all-expenses-paid trip to Zambia for a week. Which they did! He got the shot within a couple of days and then spent the rest of the trip taking pictures for himself! That sounds like a nice way to make a living, doesn't it? However, until we're well established enough with a good enough reputation to get those kinds of jobs, all we can do is keep on snapping and use the networks that we have. I've worked for a milliner, a local councillor, a businesswoman and others, but all my photo shoots have come from friends of friends or personal contacts. I'm not very good at networking - and it's certainly not something I enjoy unless it happens naturally - but it's very important in this business.
I work as a private tutor as well as a photographer, so I guess it was an obvious fit to offer photography lessons. It's finding the students that's the real problem, though. One of my tuition agencies provided me with a couple of clients, while the rest came from connections I made at exhibitions and talks. You never know when you might meet just the right person, so it's important to keep a few cards in your wallet just in case.
If you don't mind public speaking, then giving a slideshow and talk on photography is an enjoyable way to earn some pocket money. Camera clubs and other groups won't generally pay more than £100 (if anything at all!), but it's also a useful chance to take along a few prints to sell and to hand out business cards. I got started after meeting a very nice woman on an Antarctic cruise, and I've now given talks at her branch of the WI, two camera clubs and a local library. If you want to be proactive about it, I'd simply Google camera clubs (or WI branches!) and email all of them to see what happens. As my mum used to say, you have to cast your bread upon the waters...even if it sometimes comes back a soggy mess!
- Photography trips
One final way of making money is to lead photography trips. A lot of photographers do it to supplement their income, and it's a good way to reduce your travel budget. I recently put together a list of tour operators and emailed them all one afternoon to find out if it could work, and I soon received a call from the founder of Gane & Marshall, asking me to lead a trip to Tanzania! I offered my services for free in exchange for the chance to go on an all-expenses-paid photographic safari. Now all we have to do is find at least five people to come on the trip and make it economic. Fingers crossed!
I hope all that was useful. If you have any more questions, please drop me a line at email@example.com. It's not easy becoming a professional photographer, but we can at least take pictures as a hobby while we wait for our big break.
Here's to clicking and dreaming...
I live in an Art Deco mansion block in Putney, and every year the porters put a Christmas tree in the entrance hall. Last year, I took some pictures of some of the baubles, inspired by an email from one of the photographic magazines about how to capture bokeh lighting. This year, the tree and the baubles were different, so I decided to have another go.
Ormonde Court, Upper Richmond Road, London SW15 6TW, United Kingdom, around 2100 on 12 December 2014.
- Nikon D800 DSLR camera
- Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED lens
- Nikon SB-910 Speedlight flash
- Manfrotto 190XProB tripod with 496RC2 universal joint head
- Hähnel HRN 280 remote release.
I’ve just managed to remortgage my flat in Notting Hill, so I’ve been investing in a few photographic supplies. Ever since a German called Stefan took a magnificent shot of Old Faithful at night using flash, I’ve wanted a proper flashgun. Well, now I have one. I bought the Nikon SB-910 Speedlight a couple of weeks ago, and it arrived just in time for this shoot. I didn’t know whether I’d need it or not, but I was prepared to experiment.
- Manual ISO 100
- 1 second
- Tungsten white balance
- Single-point auto-focus
In the last of these posts, I mentioned how I’d got used to taking a tripod with me in almost all circumstances, and last night was no exception. Last year, I was generally pleased with my shots of the baubles, but the ISO was far too high. I was using my tripod, funnily enough, but to hold the bauble rather than my camera! This year, I decided I would definitely mount the camera on the tripod, but that left me with nothing to hold the baubles. I thought about using a light stand from my flash kit, but I needed something horizontal rather than vertical so that I could hang the decorations from it. I then had the idea of using my golf clubs. I could stand the bag in the lobby and balance one of the clubs on top, held in place by the other clubs.
As it turned out, I’d forgotten that the bag would be at an angle of 45 degrees, so my original plan didn’t work, but I simply pulled my 4-iron half-way out and hung the first bauble from that. It was a silver reindeer, but the green wire loop wasn’t very long, and I wouldn’t have been able to get the shots I wanted without the golf club getting in the frame. I needed a piece of string. I thought about going back to my flat, but leaving my golf clubs and my camera unattended in the entrance hall didn’t seem like a sensible idea! Fortunately, I was wearing trainers, so I just used one of the laces. It took a few gos to get each bauble to point in the right direction and remain still – particularly as there was a stream of curious residents opening the front door on their way home from work! – but I managed in the end. Phew!
I took lots of pictures of the silver reindeer, a red bauble with a spiral pattern on it and the red star shown above, and I played around with the flash settings to try to make the background a bit darker. Sadly my new flash was so powerful that I couldn’t manage that – even with -3.0EV of exposure compensation! There might’ve been a better way, but it was the first time I’ve ever used a flashgun, so I’m still a newbie.
The main problem I had in taking the shots was actually getting enough depth-of-field. The reindeer was fine, but the round baubles and even the star were proving a nightmare. If I focused on the front of the bauble, the metal cap and wire loop were out of focus, but, if I focused on those, the rest of the bauble was out of focus. I’m an absolute stickler for sharpness in my images, so I wasn’t sure what to do. In the end, I stopped down a little bit and hoped that f/5.6 would be a small enough aperture to keep everything acceptably sharp. I tried ‘chimping’ (or checking the shots on the LCD screen) a few times, but it was tricky to tell. My problem was a kind of Catch-22: the three variables controlling depth-of-field are normally the focal length, the aperture and the relative distances of the camera to the subject and the subject to the background. I couldn’t change to a wide-angle lens, as I needed to limit the background to just the Christmas tree; I couldn’t change to a much smaller aperture without making the bokeh circles of the blurred Christmas lights in the background too small; and I couldn’t change the relative positions of the camera, bauble and tree without changing the composition completely. Hmm… As you can see from the shot above, the two arms on the right of the red star didn’t turn out completely sharp, but it was ‘good enough for Government work’. Shutterstock obviously didn’t accept it – they’re very hot on sharpness! – but I did win an award on Pixoto for the sixth best image uploaded to the Christmas category yesterday!
I made three changes to this shot:
- I had the camera on ‘Tungsten’ white balance, as I’d just read somewhere that I should use the amber filter on the flashgun when shooting indoors in order to avoid a clash of different light sources. However, it turned out that the shot looked a lot warmer with the ‘Flash’ white balance, and that was just the look I was after at Christmastime.
- A lot of my images end up being quite dark, and I’m not sure whether it’s just because I’m lucky to spend a lot of time in very sunny places or whether there’s a problem with my camera! In this case, I actually had to push the exposure up by +2EV in Aperture to make it look like all the others. I have a feeling that’s because I changed from f/2.8 to f/5.6 to get more depth-of-field but forgot to lengthen the shutter speed to compensate. Silly me…
- I was desperately trying to frame the shot perfectly so I wouldn’t have to crop, but the balance of the bauble with the ‘negative space’ on the right wasn’t quite right, so I cropped in slightly to position the star a third of the way into the frame.
I’m a photographer (among other things), and this is the first of a series of posts about my favourite photographs. I’ll tell you how I took them and break down the shot into the idea, the location, the equipment, the settings, the technique and any post-processing.
When I took this shot, I was at a Battle of Hastings re-enactment at Battle Abbey in Sussex. I was there to take pictures of the battle scenes between enthusiasts dressed up as Normans and Saxons, and I had no idea there was going to be a falconry display until I bought my ticket and was given a flyer with the plan for the day.
The golden eagle is my favourite bird (isn’t it everyone’s?!), so I was very excited to be able to see one in action. The falconers from Raphael Historical Falconry put on a couple of displays with a variety of birds, including a gyrfalcon and a Harris hawk, but the golden eagle was the highlight. Afterwards, I wandered over to their tent, and I was able to get within just a few feet of all the birds. The falconer was happy to chat with the spectators with a bird on his arm (so to speak!), and later he fed and watered the birds outside. That gave me the chance to set up my tripod and get a few good close-ups, and this was the best of the lot.
Battle Abbey, High Street, Hastings and Battle, East Sussex TN33 0AD, United Kingdom, around 1500 on 11 October 2014.
- Nikon D800 DSLR camera
- Sigma 50-500mm F4.5-6.3 APO DG OS HSM lens
- Manfrotto 190XProB tripod with 496RC2 universal joint head
- Hähnel HRN 280 remote release.
I was a bit worried about using my ‘Bigma’ to take this picture, as I hadn’t been very impressed with it on my trip to Spitsbergen to see the polar bears. Admittedly, the bears were usually a few hundred yards away, and no zoom lens is at its best when it’s at its longest focal length, but I was disappointed that my shots were so soft. As a result, I did a manual focus check and discovered that the calculated auto-focus fine tune setting was a whopping -12! Armed with this new improvement to the sharpest tool in my box, I was ready for anything…
PS They call it the ‘Bigma’ as it’s made by Sigma, and it’s enormous!
- Auto ISO 110
- Daylight white balance
- Single-point auto-focus
I had the camera on Manual with ISO on Auto, which I thought was appropriate for a day when lots of things would be happening, and I’d be taking candid shots without much opportunity to sit down and check my settings. However, I should probably have set the ISO to its optimum value of 100 for this shot, as I had plenty of time.
I’m generally a travel and wildlife photographer, but I normally don’t use a tripod as it gets in the way and doesn’t work too well in a Land-Rover moving at 40mph! However, I learnt a new perspective from a professional photographer called Mark Carwardine. He happened to be on a cruise to Spitsbergen that I went on a few months ago, and he was always carrying around his tripod with the legs fully extended – even on the Zodiac inflatables that we used to land on the islands. I thought to myself, If he can do it, so can I! After that, I’ve tried to use a tripod wherever possible. I love really sharp wildlife shots, and a 36.3-megapixel DSLR and a tripod make a winning combination.
Another important thing about wildlife shots is to get down to the level of the animal or bird you’re shooting. You can see from this shot that I’m right at eye-level with the eagle, and that gives the sense of power and intimacy I was looking for.
Finally, I’ve learnt from a couple of portrait shoots the value of the ‘catchlight’. This is the reflection of the light source that you see in the eye of your subject. It’s just as important with wildlife as with people, and I was lucky enough to get a break in the clouds that allowed the sun to provide the perfect catchlight. Lucky me!
I changed from a PC to a Mac a few years ago, so I do all my post-processing in Aperture. I suppose I should upgrade to Lightroom or Adobe Camera Raw or Photoshop, but iPhoto was the default image-processing software on the Mac, and Aperture was the cheapest upgrade!
I only had two changes to make to this shot:
- Even at 500mm, I still wasn’t quite close enough for the bird’s head to fill the frame, so I had to crop in later. I’ve found from experience that 6.3 megapixels is the minimum size that the major online photo libraries accept, so I never go below 6.4 MP (to avoid rounding errors), and that’s the new size of this file.
- In the end, the automatic ISO setting was close enough to the optimum of 100, but the shot was slightly overexposed due to the dark colours of the eagle’s feathers and the grassy background, so I had to reduce the exposure by 0.5EV.