One question I frequently get asked is how to get rid of shadows in the picture when the subject is close to a wall?

Well, it depends on if the shadow is being created due to a specific angle of the speed light or you’re using some sort of a flash diffuser. A lot of photographers assume that the omni dome diffuser you get with your speed light is essential to making the light softer, which is not always true.

In most cases that dome diffuser is used to spread the light in a very challenging lighting situation when you can’t bounce anything off the ceiling or walls. The plastic diffuser helps you project the light forward and in all direction to illuminate your subject. But what if you are able to bounce the light off the ceiling without any difficulty? In a situation like this, omni dome diffuser can create shadows behind your subject and in some cases the light rather looks harsh and unflattering.

In the sample pictures (above) you’ll notice shadows behind the subject and the flash on the subject’s face is not very soft. This was taken with a dome diffuser that comes with most speed light these days.

In the next picture you’ll notice that the shadows are gone and the light becomes much softer. I simply removed the diffuser and bounced the light straight off the ceiling. It was a 20 foot ceiling and I had no problem creating soft light.

Take a look at some other sample pictures where my subject is very close to the wall but there are no shadows simply because I did not use dome diffuser which helped me eliminate any shadows and harsh light.

If I were in a situation where the ceiling was of a very dark color and too high to bounce the light off, then I would use the dome diffuser to bail me out, but for the most part you can create beautiful light without the diffuser.

PhotographersOnUTube is a Photography Tutorial channel on YouTube. You can find their facebook page here and YouTube channel here.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Use Dome Diffuser to Eliminate Shadows and Harsh Light

I’ve started noticing a pattern in many of the images I have seen from new photography enthusiasts. It’s not absolute, but it is common enough that I write here today offering this bit of advice: Get closer.

Here’s the pattern I see when I ask new photographers to photograph something of interest. I’ll illustrate the flow with photos most students start out with.

First, they find something interesting, like this splotch of moss on a tree trunk. They think it’s different and those who haven’t visited Washington often remark at the different varieties of moss we have here. If only we could export it for gold.

The photo above is what I see a lot of. It’s not horrible, but it is not what the shooter really wanted to capture. They see the moss, they see the tree and they just take a shot, from about four feet away and zoomed out. But the image brings in the background and there is nothing special. They often frown at the camera at this point. Then turn to me with that frown, shrug their shoulders and look for advice. “Get closer.” They sigh again and take a step in.

The moss gets bigger but they complain about the distraction of the person on the sidewalk in the background. More frowning. “Get closer.” One more step straight forward (moss really is cool).

Straight on. They are a bit amazed their camera can take a picture so close, to be honest. Some, picking up on the theme, will take things even closer but most of the time, the lens and camera combination won’t allow focus at that range. At this point, they have a close image but everything is in focus and there is no depth to the image. They still aren’t happy, but getting there (at least the sidewalk isn’t visible!).

At this point we take another tack. I have them move to the side. To try another angle. By now they still aren’t sure I’m sane and this is par for the course. Perhaps there is a magic button on their camera that makes pretty pictures? “No,” I reply, “but that’s actually good news.”

Now the eyebrows raise up a bit. There’s interest in the image. A bit of angle has added in some depth (even at f/9) and the moss is starting to become interesting. They know what’s coming by now if they were to turn to me and ask, so they tentatively ask, “Closer?”  “Yep. And zoom in just a bit.”

“Oh wow,” is often heard at this point. They didn’t know their camera could take a photo with a clear subject and no distractions. They were able to get a bit closer than when straight on and they now have a focal point. But the aperture is still set to f/9 and bringing in a lot of the moss. So I have them lower the aperture as far as it will go (while still looking through the view finder as it is good practice to learn to adjust settings while looking through the viewfinder if you have one).

Now at f/5.6 in this case, the focal point is narrowed down and they have an interesting picture. Will it make the cover of National Geographic? Not likely. But I’ve come to understand people learn in baby steps and this is a big one for most; realizing there is more to shoot than the broad view, with a wide angle lens, four feet back.

If you’re starting out, repeat the mantra to yourself the next time you have a subject in front of you and are frowning at your camera’s display of an average image.

Get Closer.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Beginner’s Tip: Get Closer

The main updates included:

• More durable body
• Smaller Size (only slightly)
• Redesigned Optics
• New Zoom Lock lever to prevent damage in transit

Unfortunately the update didn’t bring any Image Stabilisation to this lens – something that will disappoint many.

The new Canon EF 24-70 F/2.8L II USM will retail when it becomes available in April for $2,299.

There is some speculation around that this update is a precursor to a full frame DSLR announcement from Canon shortly. Time will tell.

Also of interest is Canon releasing two wide angle primes with Image Stabilization.

They are the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM. These updates to older prime lenses are said to add up to four stops to shooting with them. They both have Ultra Silent Motors and new aspherical lens elements.

The 24mm F/2.8 IS USM will retail for $849 USD and the 28mm F/2.8 IS USM will cost $799. Both will be available in June.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Canon Update 3 Lenses including EF 24-70 F/2.8L II USM

The film showcases the D800′s ability to shoot in some tricky lighting conditions and situations (fast moving motorbikes, low light etc). Here it is:

Also released by Sandro today was a behind the scenes video. It doesn’t contain a heap of technical info by will give you a feel for how it was shot.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

View a Short Film Shot on the New Nikon D800 DSLR

For the first time ever I have a camera bag that does not make me look like a photo geek! (Or, to be honest, for the first time in my life I have a real camera bag, with room for more than just one camera)!

It is a beautiful leather bag (available in several beautiful different colours), which can be used/worn at any occasion. A great bag for combining shopping or having a coffee with friends, and photo shooting. And as the bag won’t give away that you are carrying a camera, it is ideal for a female street photographer!

For me it is a small drawback that the strap is too short to carry it across my chest. However, that is what makes it look more like a purse than a camera bag. I did not think much about the missing strap whilst photographing, but when doing longer photo walks it got quite tiring on the shoulder (not being able to ”distribute” the wight across my back). It does help, though, that the zipper can be opened from both sides of the bag, making it possible to alternate the carrying between the shoulders. One thing I love about this bag is its ability to stand on the ground without falling over, having four ”legs” underneath. It makes it easy to place beside me, being on the train or in a cafè

The bag has inner padding, and three removable dividers making it easy to adjust. For me it has the ideal amount of space: I have room for my camera Nikon D90 with a 18-105 mm lens attached, and an extra nikkor 50 mm, my wallet and my keys (i love the extra small pocket). And still there is room if I want to bring a flash or my Canon G7. As I have just moved to Melbourne, where the weather is changing all the time, it is perfect to have additional space for a scarf, an umbrella or even a small rain coat! For those with the need of room for several lenses and flashes etc, this bag might be a bit too small, though. Extra pockets on the outside of the bag are ideal for an iPhone or your lens cover, filters, batteries or memory cards. The back pocket has room for more, but filling it up might be felt against your body whilst carrying the bag. For me, though, being a stranger in the city, this was the perfect place for a map of Melbourne!

Check out the Pompidoo range at http://www.pompidoo.com.

Marianne Gilhuus

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Perfect Camera Bag for the Female Street Photographer

Win a DSLR, iMac or Photoshop and iPad

Today I’m super excited to announce that anyone who buys our new Guide to Post Processing eBook during it’s launch will go in the draw to win one of three amazing prizes to help them improve their photography.

3 prizes? Why 3 prizes I hear you ask?

The reason is simple – dPS readers are all at different stages of learning and come with varied needs, gear and challenges. As a result – we’ve chosen 3 prizes that will hopefully meet a range of reader needs. The winner gets a choice of one of the following:

• a Canon 60D DSLR with 18-135mm lens – worth $1180 USD
• a 21.5 inch Apple iMac (2.5 GHz Quad-Core Intel Core i5 with 500GB Hard Drive) – worth $1199 USD
• Adobe Photoshop CS5 and an iPad 2 – worth $1200 USD

So whether you need a new camera, computer or post processing software and iPad – we’ve got you covered.

The Competition

Anyone – anywhere in the world – who purchases a copy of our Photo Nuts and Post eBook before midnight on 21 February goes into the draw to win one of the iMac, DSLR, Photoshop/iPad prizes. This includes anyone who bought the eBook in the last two weeks. The price will also go back to its non discounted price on 21 February.

FAQs

Based on past competitions – I know there will be two questions asked again and again – so here’s the answers spelt out:

• what if I already purchased Photo Nuts and POST? – you’re in the draw and don’t need to do anything else
• is this open to all international readers – yes, everyone. We’ll ship the computer to you anywhere at our cost

So Here is the Deal in a Nutshell

Buy Photo Nuts and POST before 21 February and you get:

• 33% off the eBook – worth $29.99 but for a limited time just $19.99
• An Entry into the DSLR, iMac, Photoshopt/iPad giveaway
• Plus (and most importantly) you’ll come away from reading the eBook with some great knowledge and skills to help you improve your post production of images.

As this post goes up you have 2 weeks to take advantage of this offer – so don’t hesitate and pick up your copy of Photo Nuts and POST here today!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Buy our New Post Processing eBook and Go in the Draw to Win an iMac, DSLR or Photoshop!

Will you be cashing in and picking one of these cameras up? Comment below!

Here’s the feature list.

Nikon FX-format CMOS sensor with 36.3 effective Megapixels
Native ISO 100 to ISO 6,400
Manipulate light to your advantage
Shoot broadcast quality video
Comprehensive high-fidelity audio recording control
Live view output on external monitors
Integrated image sensor cleaning system
EXPEED 3 image-processing engine
Advanced Scene Recognition System
Time-lapse photography
Advanced Multi-CAM 3500FX autofocus sensor module
Versatile AF-area modes
High-precision, high-durability shutter
High dynamic range (HDR)
Don’t miss a moment
3.2 inch, 921k-dot LCD monitor
Lightweight yet durable construction
High-speed CF and SD dual card slots

Let’s have that all explained.

Nikon FX-format CMOS sensor with 36.3 effective Megapixels
With a huge 36.3 Megapixel full-frame CMOS sensor your photos will have more detail than ever before. The sensor is 35.9 X 24 mm – producing such incredible detail, that the Nikon D800 can render textures and nuances equivalent to high-end medium format cameras. Define every eyelash, every line in tree bark, and every shimmer of light. You can now savour the exceptional depth in your photos and enlarge them as big as A1 posters at 200dpi.

Native ISO 100 to ISO 6,400 – expandable to the equivalent of ISO 50 to 25,600
High-resolution, studio-quality images shouldn’t be restricted to the studio. The Nikon D800 sets a new benchmark for high-resolution DSLR cameras, with clean and crisp images across a wide ISO range.
Flexibility like this opens up new imaging opportunities for still photographers and cinematographers. Even at high ISO settings, the camera’s intelligent noise reduction systems manage noise without sacrificing fine details, giving the nikon D800 the edge on its competition.
The difference can even be seen in low-contrast subjects such as hair and grass textures, which are often essential elements of cinema as well as high-resolution portraits and landscape images. High image quality at higher ISOs also means that you can shoot still images handheld more confidently, knowing that fast shutter speeds will reduce blur.

Manipulate light to your advantage
With the Nikon D800, our engineers have combined high-resolution performance with a wide ISO range – making many photographers dreams a reality. New methods have been employed to manipulate light transmission to the sensor’s photo diodes, delivering crisp, brilliant images with significantly less noise.

Shoot broadcast quality video
Many filmmakers require the highly mobile, lightweight and compact advantages of a DSLR in order to cover large events, make documentaries, music videos or movies. For these professionals, the Nikon D800 is ready to create incredible cinematic experiences.
The Nikon D800 is capable of shooting full 1080p HD video in either FX or DX modes – yours to choose depending on your creative intentions. Combined with the processing power of the new EXPEED 3 processor, you can shoot broadcast quality video at 30 frames per second.

Comprehensive high-fidelity audio recording control
The Nikon D800 is designed for crisp stereo recording with a built-in external stereo microphone input. Attach the compact ME-1 Stereo Microphone to record clear sound while significantly reducing mechanical noise. An external headphone jack enables you to effectively monitor and control audio in isolation.

Live view output on external monitors
While shooting movies you can now simultaneously check the video feed on an external monitor using an HDMI connection, in addition to the camera’s TFT monitor. For those who need the purest video output for professional quality editing, you can now record uncompressed movie live view footage directly to an external storage device via HDMI interface.

Integrated image sensor cleaning system
Ever experienced the frustrations of dust reaching your cameras image sensor? The Nikon D800 automatically prevents this. Employing Nikon’s new Integrated Dust Reduction System the sensor self-cleans itself with four resonance frequencies to vibrate the optical low-pass filter and shake dust away. There’s also no need to worry if you’re shooting landscapes at low shutter speeds – you can set the self-cleaning sensor onto manual to prevent any camera shake.

EXPEED 3 image-processing engine: speed, versatility, and high performance
To process the Nikon D800’s huge 36.3 megapixel full-frame CMOS, Nikon engineers have included the new EXPEED 3 image processing engine so you don’t have to sacrifice speed for the privilege of incredibly high-resolution photos. From image processing and card recording to image playback and image transfer, EXPEED 3 manages massive amounts of data at faster speeds than the acclaimed EXPEED 2 processor. Even with specialised processing features like Active D-Lighting and highISO noise reduction, capture speed is not affected. EXPEED 3 is so powerful that it handles data-intensive tasks such as Full HD video recording at 30fps with ease.

Advanced Scene Recognition System with 91K-pixel RGB sensor
Nikon’s revolutionary Advanced Scene Recognition System, introduced with the flagship Nikon D4 camera, is also employed in the Nikon D800. At its core is a 91K-pixelRGB sensor that meticulously analyses each scene with fine resolution. The RGB sensor can recognize your scene’s colours and brightness with unprecedented precision then use that information to implement various automatic controls and give you more natural-looking results.
The real breakthrough, however, is that the sensor can detect human faces with startling accuracy when shooting through the optical viewfinder. Along with face detection, detailed scene analysis is utilised to support more accurate auto-focus; auto exposure and i-TTL flash exposure results in a diverse range of compositional and lighting situations. The improved subject tracking is most noticeable when using 3D-tracking, which can maintain a focus on moving subjects smaller in size than with previous generations.

Time-lapse photography
Capture a variety of scenes and subjects at a breathtaking pace. The Nikon D800 lets you set intervals and frame rates in order to dramatically relay slow-moving activity at dramatic speeds. The Nikon D800 allows you to shoot time-lapse photography with replaying rates from 24 times to 36,000 times faster than normal. Time-lapse photography files can be saved as a movie file.

Advanced Multi-CAM 3500FX autofocus sensor module
Accurate AF detection is crucial for extremely high-resolution still images in every situation. The 51 sensor points in the Nikon D800’s AF sensor module work down to -2 EV (ISO 100, 20°C/68°F), the approximate physical limit of human visibility through an optical viewfinder. For even more powerful detection, you can rely on the camera’s 15 cross type sensors in the centre to detect both vertical and horizontal lines when using any AF NIKKOR lenses of f/5.6 or faster. What’s more, AF can be activated with eleven focus points in the centre with open aperture of f/8, which is a big plus when you combine a telephoto lens with a 2.0x teleconverter to shoot distant subjects.

Versatile AF-area modes
Whether it’s a still life, a portrait, a landscape or a candid street scene, your subject matter varies, but its importance doesn’t. That’s why the Nikon D800 offers four AF-area modes, each specifically tailored to adapt to various subjects. Single-point AF is ideal when you need pinpoint focus on stationary subjects. Dynamic-area AF has three options (9-point, 21-point and 51-point) and is ideal for shooting moving subjects. The selected AF point and the surrounding points keep your subject in sharp focus even if it briefly leaves the selected points. 3D-tracking allows you to maintain focus on subjects that are moving erratically from side to side. Auto-area AF detects human faces and prioritises their sharpness for you — an ideal choice for candid photography.

High-precision, high-durability shutter
The Nikon D800’s shutter unit has been tested to well over 200,000 cycles of release to prove durability and precision. While the shutter unit is designed to run at a speed range of 1/8,000 to 30s, its intelligent self-diagnostic shutter monitor automatically monitors actual shutter speeds in order to correct possible variances that can occur over time.

High dynamic range (HDR)
The Nikon D800 can shoot two frames in a single shutter release, but at different exposures: one overexposed and one underexposed. The camera then instantly combines them to create an image covering a wider dynamic range. The range can be widened by up to 3 EV for different looks, all full of saturation and tonal gradation, while the smoothness of the edge where the two exposures meet can be adjusted for a more natural appearance.

Don’t miss a moment
The Nikon D800 is designed to respond immediately. Once the camera is turned on, it starts up in approximately 0.12 seconds* and your finger is in position for shutter release. Release time lag is minimised to approx. 0.042 seconds*, equivalent to that of the Nikon D3S. The Nikon D800 also has the ability to shoot continuously at 4 fps in FX mode, and 5fps in DX mode. (*Based on CIPA Guidelines)

3.2 inch, 921k-dot LCD monitor
The Nikon D800’s large and sharp colour LCD monitor delivers bright, crisp image playback with a much larger capacity for accurate colour reproduction. Using an anti-reflective structure, you can count on clarity equal to that of the D4, even under bright conditions. Moreover, if monitor brightness is set to “Auto”, the camera automatically adjusts LCD brightness according to the environmental lighting conditions measured by the ambient brightness sensor, allowing easy use of live view in both bright and low-lit places — very useful when shooting video and stills. The ability to magnify playback images up to 46x (Large-size images in FX format) is extremely helpful for spot focus confirmation.

Lightweight yet durable construction
The Nikon D800 has been designed to achieve better durability and lighter weight. The result is a camera approximately 10% lighter than the Nikon D700, yet just as rugged, weighing in at around 1,000 grams. A magnesium alloy construction protects the camera against accidental shock, and weather and dust sealing has been extensively applied and severely tested, making the Nikon D800 as reliable on the road as it is in the studio.

High-speed CF and SD dual card slots
Card recording speed is yet another crucial element of a smooth and productive shooting experience. The Nikon D800’s CF memory card slot is compatible with the latestUDMA 7. The SD card slot is compatible with SDXC (Secure Digital extended Capacity) and UHS-I. You can also use two cards simultaneously for a number of functions, such as recording JPEG and RAW data on separate cards, recording the same data simultaneously on two cards for backup.

What do you think? Tell us if this one “is for you” or not, below in the comments!

–Sime

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Nikon D800 and D800e announced

There are a lot of tutorials out there that introduce the practice of shooting timelapses with a variety of different cameras. All of which can help you get started. But as with any situation, I’ve found there are a few things that have helped me along the way that I never read in a tutorial online.

1. Use velcro to secure the wireless trigger

Using a remote trigger does two things that are important to timelapse photography. First the intervalometer built into a lot of triggers does the tiring work of taking photos at a regular interval. Second, it allows you to be hands free from the camera, reducing the dreaded camera shake. But if you just wrap the trigger around the tripod, or even just drop it once it’s plugged in, a stiff breeze will blow that wire around and shake the camera. Defeats the purpose of using the trigger and the tripod.

My solution. I put a piece of velcro on my tripod leg and the corresponding piece on the back of the remote trigger. The wire stays wrapped up in a twisty-tie to avoid long cords dangling in the wind or just asking to get snagged on my sleeve.

2. Bring a notebook

Or use your phone to take notes. Having something to take notes will allow you to write down camera settings for immediate use (switching from AP to Manual mode to grab settings via in-camera light meter) and for future use (reference for settings to avoid star trails for instance). Personally I use Evernote on my phone amp; sync the app across all my computers. This provides an (almost) always available database of information that I can utilize. Think of it as a photography diary. Every time I shoot I try to create a new note about something I learned. When I get in a rut, I just look back at my notes. This is a habit I picked up from playing golf and it’s worked very well for my photography.

3. Download Google maps to your phone

This tip will likely not apply to everyone in every situation, but I’m giving it nonetheless. If you plan on hiking to a spot, or you’re just heading to am unfamiliar area, download that region to your phone via Google Maps. Then if you lose service you don’t need to depend on the network to provide the map. GPS always works so you can find your way still. Here’s a quick YouTube tutorial: Google Maps Offline

4. Bring a Small Red LED flashlight

This is a night time tip. It’s obviously hard to see in the dark, and the little light that you do get from your camera will go away once you start taking the pictures. If you’re shooting the stars, then this little tool will be especially handy because astrophotography is generally at it’s finest when there is the least amount of light pollution. The red color is better on your eyes in darkness and it isn’t as noticeable to the camera sensor.

5. Entertainment

Unless you’re a professional that shoots 9 cameras at once, you will likely setup the timelapse and then have to wait… a long time. So be prepared to keep yourself entertained. For me this includes my iPod and a phone with full battery to play games, write blogs, check sports scores, etc. If you’re into crossword puzzles, bring several. Timelapse photography is a waiting game.

6. Keep everything warm during cold weather shoots

This includes you and your gear. Put on enough layers to make you sweat when inside. Then put on one more before leaving the house. You won’t be moving around much so put on enough to keep you warm as you sit still for hours. I would recommend buying hunting gloves that let you pull the fingers back so you can easily changes settings, etc.

As for your gear, buy the hand warmers that are available in every retail store and gas station in the country. Place all of your extra batteries in a pocket with this warmers. I gene

Further Reading:

An Introduction to Time Lapse Photography

How to Make a Time Lapse Video With Your DSLR

7 Tips for Shooting Better Timelapse

Interview with Ross Ching – Time Lapse Photographer

Clayton McLauglin is a Chicago based ‘digital junkie’, photographer, videographer and storyteller. See more of his work at his blog, on Flicker and Follow Clayton on Twitter at @augiecrazy8.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

6 Timelapse Photography Tips [You May Not Have Considered]

“At all levels of income, the typical response is that one needs 20% more to be happy.” – Richard Easterlin

The photographer’s equivalent to Dr. Easterlin’s statement is probably “Whatever you charge for your work, the typical response is that you’re 20% too expensive.”  Like clockwork, I’ve been told my photography is too expensive at $75, $100, $300, $500, $1200, and $2000 price points.  But why?

Anchors Aweigh

First, photography is one of the worst victims of something called the anchoring bias: Our tendency to grab on to a certain number and weigh everything else against it.  Even if that anchoring number has been pulled out of the air, or is largely irrelevant to the situation, people will cling to it when evaluating everything else.  For example, a person from a small town might think taxis in their town are too expensive.  But a New Yorker who visits that small town will think “Whoa, these taxis are cheap!!”  It’s the same taxi and the same price – but reactions are different because the two people have a different anchor for how much a taxi “should” cost.

People are used to paying $5 for 50 prints at the corner grocery store and under $30 for a packet of school photos.  Thus, most people’s “anchor” for photography pricing is probably somewhere between $5-30.  So they wonder: Why would they want to lay down a hundred bucks, let alone two grand, for your services?
The hard truth is, no matter what you charge, you will always be too expensive to someone, especially those whose “anchor” is a grocery store.   You might as well price your work profitably, and in the meantime, work to “re-anchor” your potential clients to your price range.  Here’s how:

1.  Create your own profitable pricing list and stick to it

Don’t steal someone else’s pricing because it “looks right” – you need to understand exactly how you arrived at your numbers.  If you take your pricing from some other photographer, it’ll be harder to stick to your guns when clients pressure you to accept a lower rate.  When you feel desperate for work, one price grabbed out of the air won’t be much different than another.  Understanding your own overhead costs and profit margins helps you be firm, because you’ll quickly see what that discount would really cost you.  (If you’re struggling with setting profitable pricing, I recommend Easy as Pie by Alicia Caine.  My highest sale before buying that e-book was $500, my first sale after implementing my Easy As Pie pricing list was $4000.  Well worth the investment.)

2. Spell out to potential clients exactly why your services are worth what you charge

Most people understand why taxis in NYC are more expensive than in their hometown.  But many people may not see the difference between your photos and a mall studio, except that your photos are taken at a park.  (But since using the park was free, why would you be more expensive?)  Make sure your website describes in lavish, dazzling detail exactly what they will get from working with you.  Blog regularly about the experience clients receive, how unhurried and fun each session is.  I recently blogged a breakdown of the time I spend on each client (23-34+ hours), and potential clients told me they had no idea!

Make it clear how much effort you put in on their behalf, and what that means for their life and family.  Only then will they see how their previous price anchors don’t apply to your business.

3. Don’t count on the quality of your work speaking for itself

 
Too many photographers fall into the trap of counting on clients to perceive the high quality of their photographs and thus believe that their services are worth more money.  But consider: when you started in photography, I bet you were more easily awed by professional photographs.  Now, after putting in hundreds of hours taking and looking at photographs, I bet you have gotten progressively more picky about technical sloppiness.

Your clients are not photographers.  They are not going to immediately recognize soft focus, clipped highlights and shadows, Photoshop overcorrections, etc.  Some may honestly not see the difference between your honed skills and your neighbor down the street who just picked up a camera yesterday.  There needs to be a more compelling reason for them to pull out the checkbook.  You might make it a part of your regular blog conversation to post a few SOOC/post-processing comparisons, do a “year in review” and talk about how much you’ve grown over the year.  Even non-experts can appreciate jumps in quality when they see things side-by-side.

4. Don’t change prices too often

Your current prices are an anchor for past clients.  Wedding photographers are not aiming for repeat wedding clients (hopefully!), so they can raise their prices more frequently with less anchor damage.  But a mother who did her newborn session with you may be shocked to come back at six months and find that your rates have doubled.  It’s easier to set a profitable pricing list right now (which usually represents one significant jump), perhaps taking time to explain to past clients that in order to be around to serve them long-term you have made some adjustments, but that you value their business and look forward to working with them again. Then tweak only once or twice a calendar year thereafter.

If you set a profitable price list and find that you need to make an increase, consider keeping your session fee the same and adjust the prices of your products.  Session fees stick in people’s minds, so big session fee jumps can induce more sticker shock than nudging up the price of your canvases.

5) Don’t make this Mistake

People are not always explicitly aware that they have price anchors, or that they are using them to evaluate you.  They simply think “too expensive,” and move on.  Thus, it’s important that you make it clear to clients that you’re in a totally different category from mall studios or DIY prints so that they don’t simply think “photography” and grab on to their grocery store price anchor.

When you market to differentiate yourself, you may find it tempting to focus everything on YOU.  MY photography is better quality, I provide great service, MY business is better than their business, etc.  This is a mistake.  People don’t care about how great your business is if it’s not totally clear what’s in it for them. Ask them: Imagine what it would be like to have a relaxed, unrushed, 2-hour photography session where there was no stress, just family fun.  Imagine personal service, no waiting in lines, no hurry-up-and-decide pressure.  Imagine a professional retouching each image and ensuring that it looks beautiful.  Give them a clear picture of what they will get out of an experience with you. This will help them let go of those frustrating anchors and better see the value of your services.

Jenika McDavitt blogs over at Psychology for Photographers, helping photographers run smarter businesses through a savvier understanding of human behavior.  Wave hello on Facebook here!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How To Get Over Your Fears And Raise Your Prices as a Photographer

UK Tripod conjurers, 3 Legged Thing decided to find out…

What’s on the 3LT menu?

• Carbon Fiber Tripods, Lightweight Travel Tripods
• Carbon Fiber Monopods
• Alloy Tripods
• Alloy Monopods
• Combination Tripod/Monopods
• Anodised Precision Ball Heads and Black Rapid R-Strap Compatible Release Plates
• Stuff (It’s not called that, but there you go) Bootz and Heelz and Budgie Smuglaz

So, I have Brian and Kirk here with me right now, Brian is a carbon fiber travel tripod that extends from as low as 125mm to over 2mtr tall – that’s the lowest shooting angle of any travel tripod I’ve ever heard of… Brian will happily muscle 8kg of gear on his anodised precision ball head (if you buy the kit, or the separate ball head, that is) Brian is as happy on three legs as he is on one, you can detach a leg and use it as a monopod. Brian has screw off feet that you can interchange with spikes… if that’s what you’re into!

I use a thinkTank roller, Brian easily slots into my bag when I’m travelling, or is as happy hanging from the side when I take all of my gear along to a shoot – very easy to erect, very easy to handle. You can see in the bag above, Brian is at the top under a RODE Videomic, second row from left is a Canon EF 70-200mm f/2.8 ISL, Canon EF 16-35mm f/2.8L, Canon EF 50mm f/1.4, Lensbaby, Hoodman Loupe, RODE Lav mic on top of Canon EF 24-70mm f/2.8 attached to a Canon 5DMKII, then to its left a Canon 30D + Grip, Sony NEX-5 with an SLR Magic 28mm f/2.8 and 430EX and 580EX flash units from Canon…

Brian (and all of his brothers) come with a 5 year manufacturers warranty, though, if you put Brian under a bus – you’re the idiot.

Brian is sexy and very functional – how do I know? I’ve been using a V1 Brian since he was born, now with his 2nd generation incarnation, there’s nothing but more love… One of the main reasons that I love this product, I mean.. a tripod is a tripod, right? Well, sure… But when you have a good team behind a product, it shows… Ideas I sent back after getting first generation Brian were taken seriously, ideas were chatted about, not just disregarded. These guys are innovating and it’s exciting to see that, in a market that is quite full, they stand out easily. Here’s Second Gen Brian as a kit – Legs and Head

Brian was picked up in England, he’s been to about 10 different countries and now lives back here in Australia with me – I couldn’t ask for more in a travel tripod. five out of five stars, 3LT… bravo

I also have Kirk who is a Mag Alloy cousin to Brian, he’s first gen “the original” and whilst I’m very happy with all of the second gen updates, I’m still equally happy with my first gen Kirk… He’s been to the beach (mmmm, sand and salt water) and he’s been a sturdy addition to my more ‘studio based’ shoots – when I need something that I can stand in his spot, whack something heavy on top and then add a shelf for my laptop when I shoot tethered – Kirk is my go to guy… Second Gen wise, go and have a look at Jack… Very well priced and a darn fine V2.0 if I may say so…

I’ve been using this gear for a while now and I’m very happy to tell anyone that asks about it – the build, the price and the plain awesomeness of 3LeggedThing as a company work for me.

Follow 3LeggedThing on Twitter or Facebook to find out more about what they’re doing.

Sime [ @gtvone ]

Post originally from: Digital Photography Tips.

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3 Legged Thing – The New Breed