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7 Expert Tips for Getting Your Photography Published in Fashion Magazines

Know you won’t get rich: Most independent publications can’t pay for content, but that doesn’t mean you shouldn’t be submitting. Miss Aniela cautions that “it’s something you’ll  want to be doing on the side,” but that that doesn’t mean it isn’t worthwhile. Just know that, while paid work should be a priority, getting the kind of exposure that comes with a fashion story in an online magazine is also a great way to grow your brand, “and, importantly, your experience,” says Miss Aniela.

Begin with small goals:  “You might not want to start small,” says Miss Aniela, but beginning submitting to smaller, lesser-known publications really is your best course of action. “It’s best to get the hang of it by approaching smaller magazines.” This is especially true if you’re not used to shooting fashion. Otherwise, your work is likely to get ignored.

Pay attention to the industry: If you’re new to fashion, you’ll want to inundate yourself with information about the trends, names, and seasons. Unlike with fine art, says Miss Aniela, in fashion, “you can’t just submit what you want where you want.” Observe what magazines might be looking for at a particular time of year or for a particular theme.

Know your audience: Does your work match the work that’s already in the publications you’re submitting to? Because it should. Magazines want to maintain a consistent aesthetic, so, advises Miss Aniela, “give yourself time to take in all of these different styles that are out there,” and try to figure out what your own style is, too. “It’s all about finding that right magazine…there will be loads of mismatches, and try not to be too put off by that.”

Let the work speak for itself: Long emails won’t get you anywhere with busy editors. Let your photos do the talking for you. “I’m not saying that language isn’t important,” says Miss Aniela, “but I find it’s usually a waste of time,” when you’re writing a long pitch email. “If they like your pictures, they’ll ask to see more.” Stick with just a few cordial lines, and let your images do the talking.

Read the terms: You need to know your rights — and you need to know who gets your rights when you submit. For many magazines, submission and publication means giving up the rights to your work, which Miss Aniela says is a personal choice for you as an artist.

“It’s up to you whether you’re happy giving up your rights to your images. It depends on what you’re getting in return from that magazine, and what exposure you’re getting as a result.”

Keep trying: “Send lots of emails,” says Miss Aniela, and don’t be afraid to shop your work around. Don’t promise a story to multiple magazine — but unless someone has sent you a pull letter, “you want to submit as many as possible.”

At the end of the day, says Miss Aniela, the main point of pitching your work to magazines is both to grow your own brand and to gain experience. Don’t be discouraged if at first your work isn’t getting picked up; if you keep putting in the work and submitting your stories, the replies will start to come.

http://blog.creativelive.com/tips-getting-photography-published-fashion-magazines/

5 more family portrait tips

Family portrait tips

Crop Factor: Why you multiply the aperture by the crop factor when comparing lenses

12 TIPS ON NIGHT PHOTOGRAPHY

 haven’t had a flash for my camera since 2012. It’s not that I hate them or anything, I just don’t see the necessity for the kind of pictures that I take. Believe it or not, a flash isn’t necessary for amazing night pictures. In fact, 97% of your night pictures (we’re talking general landscape here, not portrait) will look better without the flash.

Night photography is a whole different ballgame than ‘day’ photography. You’ll have to reverse some settings typically used in the day due to the sun not being there for you. Also, you’re going to have to switch your DSLR off automatic mode and click it right on over to manual mode. Scary, I know, but I’ll walk you through a few tips to help you capture gorgeous, crisp night photos.

FOR NIGHT PHOTOGRAPHY WITHOUT LIGHT TRAILS ( or otherwise known as snapshots)

1. Shoot in RAW. RAW formatting is a camera image setting (you can either use that or JPEG) that allows the camera to record more detail in photos. It saves each photo as a pretty big file, so make sure you have lots of space. By shooting in RAW you’ll have the flexibility to change things later on in the editing process using an Adobe RAW editor. You’ll be able to change white balance, highlights, lowlights, contrast, saturation, and sharpness to get the most out of your photograph.

12 Tips on Night Photography

aperture: f/1.8    MANUAL MODE     shutter speed: 1/400secs     ISO: 3200

2. Pick a lens with a high aperture. The wider your lens can open up, the more light will be let in (so a maximum f-stop of at least 2.8 – 1.4 or even 1.2 would be best). You may not need to max out the aperture for some landscape shots, but it’s always good to have flexibility. For your initial ‘test’ photos, set your aperture at the maximum width and adjust from there.

3. Pick a fast shutter speed. The goal is to take a super fast picture, thus freezing the motion that’s happening in front of you (whether it be the trees blowing in the wind, people walking by, birds, etc). The trick of it is, if you pick too high of a shutter speed, your picture will be super dark. I generally start snapping my night photos with a shutter speed of 1/40-1/200 depending on the lighting I have in front of me.

12 Tips on Night Photography

aperture: f/1.4    MANUAL MODE     shutter speed: 1/40secs     ISO: 400

4. Adjust your ISO (to a higher number) to compensate for the shutter speed. On a sunny day a photographer will typically shoot at an ISO of 100-200. At night however, that will change. Depending on your f-stop, shutter speed, and the amount of light you have to work with, this number can vary quite a bit. Just note, the higher the number you go, the more likely you’ll be to having noise in your shot(aka the picture will be grainy). Thankfully ISO is quickly adjusted by using the little wheel to the right hand side of your camera (not sure where it is on a nikon, but I think it’s still in the same general area), so take some quick shots to get it right where you need.

5. Play around with your settings. Every single place you go, every hour of the night, the lighting will be different. You’re going to have to adjust and readjust constantly. Pictures at 7:00 pm are going to be totally different than pictures at 12:00am. The narrow alleyway is going to be a lot dimmer than a busy main street area. Don’t be scared to adjust your settings over and over again! That’s normal! Once you get a good feel for adjusting your photos and then taking quality night pictures, it won’t be that scary of a deal to change things up a bit. Lower that ISO, increase the shutter speed, raise your f-stop. There isn’t a magical formula for night shots! Hopefully with these tips you’ll get a better understanding on what each setting does, and that’ll help you understand how to take night pictures.

12 Tips to Help You with Night Photography

aperture: f/2.2   MANUAL MODE   shutter speed: 1/40secs   ISO: 200

6. The use of a tripod is optional. Did you know that? I rarely bring a tripod on our travels, just because its bulky and takes up too much room. Also when my husband and I travel around an area, we don’t want to be carrying it with us. I have yet to use a tripod in a night shot that wasn’t meant for capturing light trails. If you get your settings right, there isn’t a need to!

FOR NIGHT PHOTOGRAPHY WITH LIGHT TRAILS (fireworks, city lights, stars)

1. Shoot in RAW / turn the camera on BULB mode (optional). Just like night snapshot photography, shooting in RAW is the best for light trail photography (better known as long exposure photography) too. Actually, I use RAW for all my shoots, but that’s just personal preference. Now, in another completely different topic, give BULB mode a try instead of manual. Its optimized for letting the most amount of light in. The only thing you’ll have to do is control the shutter, and this means either a: holding the shutter button down manually for the amount of time you wish, or b: using a wired remote shutter. More on this in point number 6.

12 Tips on Night Photography

aperture: f/10   MANUAL MODE   shutter speed: 3.20secs   ISO: 100

2. Use a low aperture. You’re going to be taking a picture for a few seconds to capture the light trails, so a setting of f1.4 or f2.8 may be too bright and completely wash out your picture. Set your aperture at f6-11 initially to see what kind of lighting you can achieve. If it’s too bright? Adjust it higher (remember, thats a lower f number…totally confusing I know). If it’s too dark? Adjust it lower!

3. Pick a slow shutter speed. Light trails don’t happen at 1/500th of a second. Give them some time to develop! I like to initially try a shutter speed of 3.00-10.0 seconds depending on the subject. Fireworks are fast, and only require about 3-6 seconds. Car light trails depend on how fast the traffic is moving. Want some cool sparkler photos? You better slow that shutter speed WAY down to about 15-25 seconds.

12 Tips on Night Photography

aperture: f/8   MANUAL MODE   shutter speed: 4.00secs   ISO: 100

4. Use a low ISO. Because you’re giving your camera and lens so much extra time to gather light, you can’t use a high ISO like you would in a night snapshot picture. I always set my ISO to 100-250 for these ‘light trail’ kinds of pictures.

5. A tripod or some sort of camera stabilization is required! Here’s the deal. You’re messing with light, and even the slightest bump to your camera can result in a shaky trail. Sometimes it’s cool, but most of the time it’s not. Get a really stable tripod, or find something to rest your camera on. Trying to hold it still against your body won’t cut it…we humans naturally move. Even when we don’t want to.

6. Use a remote. Referring back to point number 5, even clicking the shutter button and releasing your finger from it will bump your camera. It’s a bummer when you have a sweet pic and then it’s ruined by a slight jolt. Get a remote! I’d recommend a wired remote shutter instead of a wireless for this kind of photography. With a wireless you have to sit there and spend those precious seconds you could be taking a really cool picture trying to get your camera’s shutter to trigger wirelessly. Not worth it. Also with the wired remote shutter (sorry it can get confusing) you can hold that shutter down as long as you want to!

Although I took some classes in photography while I was in college, I do not have a degree or solid education in the field. The tips above are a result of what has worked for me as I figure out my way through the complex art of photography and learning my camera.

http://www.bloglovin.com/frame?post=2597421463&group=0&frame_type=a&blog=6917173&link=aHR0cDovL2ZlZWRzLmZlZWRibGl0ei5jb20vfi82MDY4NjA5Mi8wL2xpdmluZ2luYW5vdGhlcmxhbmd1YWdlflRpcHMtb24tTmlnaHQtUGhvdG9ncmFwaHkv&frame=1&click=0&user=0

"Iconic" Portrait: Editorial and Raw

Instrument Time

You may be wondering why I decided to shoot the bassist aspect of Brad as an entire separate session.

Honestly, I have a tendency to think that musician-with-instrument pictures tend to be a little cheesy and overdone, more along the lines of local editorial than portraiture. As far as I’m aware, the commercial music industry tends to think along these lines as well.

Speaking of mediocre shots
Speaking of mediocre photography…

However, there are always exceptions. I’ve seen beautiful portraits of iconic musicians with their instruments, like Clarence Clemons with his sax and Carlos Santana with his guitar. In some instances, the instrument itself might be iconic, if it’s unusual, custom or vintage model.

So while there may be an overall aim, don’t be closed to the possibility of subverting cliché or running with random ideas. Given the possibility of these exceptions, I wanted to at least give it a try, and hence a second session.

Pre-Planning

Since I’d already attempted the iconic portrait in the first session, but wanted that same iconic feeling to permeate the entire project, I had to determine how I was going to approach this second session to create a consistent outcome.

Initially my plan was to do the same general idea as the first session, but simply include the instrument this time. However, in my head, the slick, “lit” feel of the first go round didn’t necessarily jive so much with my perception of live music. I needed something more raw, but with a degree of professional polish, since my style really isn’t scenester polaroids.

I never saved the original just used it during the session but it looked something like this
I never saved the original, just used it during the session, but it looked something like this.

With this in mind, I decided a more editorial style of photography would make sense. I came up with three poses that I thought I could hang the session around. I asked Brad to bring a practice amp too. I also asked if he could bring a stack-and-head rig, just on the off-chance, but he’d just sold all his big heavy gear.

With the general thematic intent more or less solidified and a rough plan outlined, I could now start to figure out how I was going to do the lighting.

Lighting

What was different this time around? Actually, very little. The lighting itself was technically almost the same, if you look at the results of each session, but because I was now shooting more of Brad than just his head and shoulders, my gear had to change accordingly. My subject now covered a much larger area, so I need a larger light source.

In the first session, I had a 22” beauty dish a couple of feet away from Brad’s face. I was relatively close, maybe two or three feet away, shooting mainly at around 50mm. This session, however, to get the framing I was looking for, I had to move back to anywhere from four feet to around maybe nine feet. If I left the beauty dish in there at a couple feet from Brad, not only would it be in the middle of the shot, but it would only be lighting part of the scene.

Trignometry says the light quality of a 2ft at 2ft  5ft at 5ft
Trignometry says the light quality of a two-foot source located two feet from the subject is the same as a five-foot source located five feet from the subject.

To get the same lighting look, I need the same size light source relative to Brad’s position, but I need it at least five feet away from him so I can see around it. If I used a two-foot modifier at two feet away, then I now need five-foot light source to place it five feet away. Handily, I have a five-foot octa that did the trick.

For the rim light, I replaced the edgy spots with something a little softer to the left, a 1x4 strip that could be a seamless light, rim and fill all at once. I now had a more naturalistic setup, but still with just a hint of style.

Nice simple lighting setup Tileboard floor to kill shadows
Nice simple lighting setup with a tileboard floor to kill full-body shadows.

This was the studio setup, at least. When we ventured outside for me to get my “garage musician” shots, I primarily used natural light, sometimes with a bare speedlight mixed in at camera right for a little pop.

More : http://photography.tutsplus.com/articles/the-quest-for-an-iconic-portrait-editorial-and-raw—photo-18097?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Phototuts+%28Tuts%2B+Photography%29

emmmmly:

I’m always pushing everyone I know with a DSLR to learn how to shoot manual. In turn, I’ve had several friends in the past year ask me to teach them how. This usually happens when they’re across the country from me, and it’s really hard to explain over the phone. I’ve tried finding free online tutorials, but haven’t found any really good comprehensive ones. Truth is, I never shot manual or even attempted it until I went to art school and took a photography class. I looked at f-stop charts and played with shutter speed and just couldn’t get it. Hopefully, this is an easier guide than what I was able to find back in ‘08. If not, give me suggestions! I’ll gladly try again.

(via devilscherry-photography-blog)

How Much Should Photographers Charge Per Hour?

Money is a touchy subject for a lot of people – and it seems especially so for photographers.

Everyone’s personal circumstances are different, and we have a global audience with drastically different markets and ideas about income levels – so the numbers I am presenting in this article are what I would consider realistic for a typical middle class Canadian – but please feel free to make adjustments to suit your own income goals and local market.

http://www.diyphotography.net/much-photographers-charge-per-hour/