Challenging Times; A Few Ideas to Positively Impact Your Business

Challenging Times; A Few Ideas to Positively Impact Your Business

Here are a few ideas that I use to impact my business quickly and also help me move from a creative block.

A few years ago I wrote about the things I do when given a chance to jump out and spend a little time on a project. That list is still pretty timely, so here it is again; “Ten Things You Can Do to Positively Impact Your Business”

1. Take a Road Trip
I love road trips. Planning them, packing for them, and doing them. Unpacking… well, not so much. But road trips are one of the most fun and inspiring things you can do. I try to take small road trips whenever possible.

I was invited to speak in Vancouver a few years ago. Instead of flying into Vancouver, I opted to fly to Seattle, rent a car and drive the 3 hours up.

It was cloudy and rainy on the way up, but stopping for lunch with my friend Bret, and a side trip down the Chuckanut road into Bellingham (Hwy 11) made it quite fun. Although I didn’t get as many images as I had hoped, I still had a blast listening to jazz and seeing places I had never seen before.

I love driving in new places, seeing things I have never seen and will never see again, and filling the head with visual possibilities. It is always nice to fill a card with some imagery too, but that is not always necessary. The time alone and the visual interest are always enough to trigger ideas.

2. Clean Up Your Website
We can always get into that website and freshen up the client lists, bio page, and images. Check in with your Analytics and see if there is some trend you need to capitalize on. Some new keywords, tidy up the home page content, change out that tired slide show and… hey – that’s my list. Heh.

Taking a few hours each month to add images, check page loads, make sure all links are working and what the site looks like in mobil devices is great preventative action.

It also lets you see what your viewers are seeing, and if your site needs new imagery. (It does, I checked.)

3. Learn Something New
Have you thought about putting together a new WordPress blog? Or opening a small online store to sell products (Amazon Fulfillment)? Have you thought about writing articles for a favorite blog? Now is a great time to take some online classes in WordPress or Photoshop or Dreamweaver. I like

Take a writing class, or some sort of art class. If you play an instrument, get some lessons and see how your brain kicks the visual areas into high gear.

Take a workshop in a new place, then plan a drive there. The mix of road trip and workshop can make for some amazing images, and some incredible creative flow.

4. Make a Book
Artifact Uprising

Take your images and make a damn book. Edit it down to something you are proud of. Write some text, caption a few photos, make some “editorial decisions”. Work hard on it. Make small prints of a couple of hundred images and edit – edit – edit them down to the 50 images you want to showcase.

Maybe it is a compilation of all the best images you made last year. Or maybe it is a set of images you did of your favorite model, or subject, or location.

Purchase a few copies of the book and make sure they are out in view in your studio / office. Show everyone you know the new book. Love it.

5. Add to Portfolio
Shoot some new stuff. Shoot some stuff that you have never thought about shooting. Shoot some stuff you have thought about shooting but had not taken the time to do them. You know the ones I am talking about.

Find a project to work on, and then do it and get it done. Working keeps you sharp, and it keeps you fresh. Keeping the trigger finger going, and the Photoshop cranking keeps the ideas coming in at a furious pace. And having a project keeps you focused.

Get that project edited, then get it onto the website and into your print portfolio. Get ready for new visitors and possible viral engagement.

6. Blog/Write Articles for Established Media
Share your ideas, images and projects with interested people. Show clients what you do, how you meet challenges, and how you provide visual solutions to the projects they are working on.

Brag. Share. Engage with the people who drop by. Invite conversation, and meet new people through your blog. Don’t do it because you ‘have to’ – do it because it is fun.

And don’t do it expecting something in return. ROI on blogging is not like ROI on investing in a good marketing campaign. Blogging is something that you either love to do or do not. If you are one who doesn’t like to write, then just get a Tumblr and put images on it when you get them. Be consistent, and show work that may not be on your portfolio site. Or work that IS on your portfolio site.

There is no right way, you got that – right?

7. Try Something Different
Ever shoot film? Try it.

Ever shoot a Hasselblad with film? Try that too.

Rent a view camera and learn how to use it. Shoot something that just ‘feels’ like a large format shot.
Do a video on your project. Add sound. Create a storyboard, script and shoot schedule. Shoot it on a pocket camera – or shoot it on your DSLR.

Find out what photographers mean by ‘motion’ and give it a shot. How about a headshot with motion? Or a small story about a creek in your neighborhood? Go on, it’s new and different – and that is all it has to be for now.

8. Organize Your Gear
I do this every year. Get the gear out, spread it around the studio and do an inventory. What needs to be fixed? What needs to be touched up, or tossed out? Do I have all the gear I need (including one more stand than I have… perpetually), and is it accounted for?

I make a list of gear and what containers they are in. Standbaggers are audited, and a ‘packing list’ is created, laminated and attached. Now I know where all the gear I have is, and with careful re-packing I can keep control of what I have – and not end up on a gig without something really important.

The amount of gear has grown to it taking the better part of a day to do now, and that makes it even more important. I need to know where every piece of gear is, and how to get to it easily and quickly. Packing for a gig is so much easier with this system.
9. Build a List
Planning for the new year means a good time to make a list of perspective clients. Hit the bookstores and get the names and publications into your iPad or smart phone or laptop. Shoot the “Masthead” pages of magazines on your camera phone and move contact info into your contact management system immediately. Organize the list for the work you do, get ready to begin the push in email, direct mail, and any other contact forms you want to work with in the fall.

Plan the marketing with your list carefully and create a strong plan for getting your work in front of the people you have identified.

10. Market Your Ass Off
Just do it.

Show everyone what you do. Get a new set of cards done and pass them out. Make sure you wear your branded tee shirts, with matching branded walking shorts and that cool little branded beanie where ever you go.

OK, that beanie thing may be a little over the top. But only a little. Being top of mind with as many people as possible means that there is a better chance for a referral, or a mention or a call for a gig.

So there ya go… ten or so ideas to keep you busy. As we go into the New Year. Each can be the catalyst for some big new work coming up. I start this year with a pretty full plate, but each of the above is being carefully woven into the next couple of months, scheduled in as though it were a gig, and planned in advance.

Keeping the creative flowing is always the challenge, and one you and I must constantly meet head on if we are to survive and thrive in this business.

The “Dating Game”



“The Dating Game?”

I was recently involved in an email discussion (mini consultation I guess…) with a photographer who was pretty incensed by my constant upbeat evaluation of this business of photography. His concerns were voiced well, and although he was civil (without which I would never have responded) I could tell that he was genuinely pissed off.

In short, he is a photographer in a smaller town in the upper midwest. NOT a fashion center, nor really a big center at all. Surrounded by smaller towns and burgs he was about three hours from a large city where agencies were doing regional and national work.

He told me that no matter what I said, there was no work up there, and that no one he knew was doing any work. And he talked to a lot of photographers and they weren’t getting any work either and how could I be so upbeat about a business that didn’t exist anymore?

(A quick 5 minutes on Google provided 37 graphic designers, and 24 advertising agencies in close proximity. In the big city nearby (Minneapolis) there are literally hundreds.)

I asked him if he wanted a dialog with me, or just wanted to vent? And if he did want to chat about it would he answer a few questions honestly about where he was in his work?

It took him three days to write back but he did indeed answer my questions.

In fact, he answered his own questions about why he wasn’t getting work and why he probably would never get work if he remained on the same path he was on. At the time he couldn’t see it, but it was right there in front of him.

I have discussed the importance of being relevant, being professional, being persistent and focused and energized many times before, but today I want to explain it in a sort of “Dating Game” kind of metaphor. C’mon – it will be fun. Or… not.

Are you the kind of person other people want to be around?
Are you interesting? Witty? Charming? Talented? Driven?
Are you trying new things, making new things, delivering new things?
Are you engaged and involved in MAKING stuff?

Or are you simply there. Sitting with other non-interesting, non-witty, non-charming, non-talented people who don’t make anything hoping that someone will walk over to you and say, “hey, I am tired of interesting, witty, talented people. It’s time for me to date someone who really doesn’t have anything to offer me”?

How often does that happen in real life?

People are fascinated by things that are fascinating… duh. So if you are simply one of the people sitting around projecting to the world that you are not engaged, not involved, not interested in anything other than navel gazing, complaining, being offended and harshly criticizing others, then you may not be a “good catch”.

This isn’t an introvert/extrovert kind of thing – it is a people being interested in other people kinda thing. To be involved, one must actually BE involved.

We can read book after book on traveling across country by motorcycle. We can watch videos about it. We can go online and follow a few intrepid souls that are crossing the globe on a motorcycle. We can put posters of motorcycle riders in the middle of nowhere all over our walls – heck, we can even have screen savers of McGregor and Boorman in Siberia on a pair of BMW’s. We can have all of that.

But we are not riding cross country on a motorcycle. We are only passively thinking about it. Not doing it.

Now, let’s take that out into the real world and see if anyone is interested:

“Hi, my name is Don and I do a lot of thinking about riding motorcycles cross country. I read a lot of books about it. Once, I even dreamt I was in Albuquerque and couldn’t find the road to Boston. I read all the forums, and know the names of a lot of motorcycles.”


“Hi, my name is David, and I am currently riding a Triumph Bonneville from LA to Miami. I am camping out and taking photographs of the people I am meeting on the way. This is my motorcycle, and I am a third of the way there. I leave first thing in the morning.”

If you are someone interested in riding a motorcycle across country, which of the above are you most interested in talking with?

“Hi, my name is Don and I dream about being a photographer. I know my website is not very good, but I don’t have time to work on it because I spend an inordinate amount of time in my G+ group where we discuss how much this business sucks and how everyone thinks they are a photographer and how iPhones ruined everything. I have no marketing and I have never even looked for anyone to show my pictures to because no one is hiring anyway. I know all about the sharpness of “L” glass and what the ‘best’ cameras are. I even know the weight difference between a D800 and a Sony RXII7.”

How attractive is that to perspective buyers. To them, you are uninteresting and not engaged and actually invisible. You haven’t done anything, but you think your effort should be rewarded the same as those who have actually DONE the hard work, the heavy lifting, and met failure, defeat, bad portfolio reviews, shitty clients and good.

And that just isn’t the way it is done. Whether in looking for a date or finding a client, just thinking about stuff won’t be enough.

Thinking about being interesting is not the same as being interesting.
Thinking about creating photographs is not the same as creating photographs.
Thinking about showing your book, making cold calls, contacting editors is not the same thing as actually DOING it.

I gave my email friend a few pointers – some tough love – and guaranteed him that if he got engaged, and stopped thinking about doing it and actually got out there to do it, there would be some magic happening. The magic of ‘making’ and ‘doing’ instead of the lethargy of ‘hoping’ and ‘wishing’.

I haven’t heard back from him, and I am not sure I will. The comfort zone of doing nothing provides great cover. Easier to explain failure when you surrender before the fight. And the fight is hard, and no one ever wind and yada yada. It is a damned hard mindset to break.

For those of you thinking that ‘doing’ is as easy as ‘thinking about doing’ be prepared for a great awakening. Doing is hard. Real hard. You will make something and instantly there is someone, somewhere, ready to pounce on it and tell you how terrible it is, how lame it is, and how you should stop doing whatever you are doing because it embarrasses them and makes them realize that they are NOT doing anything.

When my first book for Amherst came out, I received a couple of nice emails from people all over the country. However, the fifth email I opened that morning was a scathing attack on my photography, me as a person, and I think they also hated my dog. That is life, folks. It just is.

I was kinda hurt by it, but after a while I simply told myself that no, you can’t please everyone and hell – I HAD WRITTEN A DAMN BOOK!

I had become engaged instead of wishing I could be.


After I wrote this article I made a declaration that I was going to ride to Alaska on a motorcycle instead of wishing and dreaming that I could do such a thing.

One week to the day later I am the proud owner of a cruiser with bags and gear. I have a little less than a year to get ready for this trip of a lifetime (I will turn 67 on the road). You can follow the pre-planning and trip itself – August 2016 – at the trip website: Phoenix to Fairbanks.

And you can join me if you like.

Five Things to Share on a Wednesday




My friend Jon Mather keeps adding more to his amazing WordPress Photographers Tools Plugin. From galleries for images to contact management and bidding – and he just added a CRM module. Customer Relationship Management is one of the most important things a photographer can utilize to keep the clients coming.

It takes work, effort, sweat and sometimes a bit of blood to get a client – don’t lose them by forgetting they exist.

Jon is almost finished with his Kickstarter… I think a few more folks would make it perfect for him to get all the modules bullet-proof. I know he plans on adding all sorts of things once he gets it launched – but he needs some user feedback.

Help the guy out. Here is a process video for the CRM module:

And if you want to see the instructional / demo videos he is working on, go here.


I recently wrote an article on how wishing and hoping and all that crap didn’t matter as much as doing. That day I read the edit back to myself and realizing that it was time for me to stop wishing and hoping that someday I could do an adventure on a motorcycle. So… I am planning this for next August.

Phoenix to Fairbanks on a motorcycle… there and back again.




Many of you know or have been involved with Project 52 over the years. Every year was standout amazing. This year is no exception and I am very pleased to share their work with you. If you go to the 2015 Project 52 Pros page you can see the links to the various galleries of submitted images for review. Some of these photographers are pretty green at the kind of work we assign them, and some are established pros looking to up their game.

If you want to see how talented they are, drop by each Tuesday and see the newly released images from the assignment a few weeks previous.

2015 Project 52 Pros Website.

(Sorry, we are not accepting enrollees at the time.)






From Leslie Burns excellent legal/photography blog:

“So what can copyright holders do to protect themselves? Before sending a DMCA Takedown Notice, make sure to give the infringement an impartial review for the Fair Use potential and to document doing so somehow. This presents not only a proof issue (how do you document your good faith effort to check for Fair Use?) but also how do you actually check for Fair Use when courts themselves can’t even define it clearly? Here is where the good news part of this ruling comes in: you don’t have to be right in your analysis of whether or not it is Fair Use, you just have to make a good faith effort to consider it.

In my opinion, the possibility of being sued or countersued for an improper notice will chill copyright holders from submitting legitimate takedown notices. Especially the little gals/guys, who don’t have the resources to defend against these claims, will get spooked. More infringements will go unchallenged because artists will be too scared to risk the penalties of an improper notice action. And who can blame them?”

Read the whole thing. The implications are dire… and will have a very cooling effect on the small artist who gets trampled by the big guys. I know we should keep fighting… but I am getting the distinct feeling the war is over.

And we lost.


Shooting to Layout: A Point of Purchase Display

Shooting to Layout: A Point of Purchase Display

One of the most difficult parts of commercial photography is shooting to layout. A designer or art director has an approved layout, and your shot must work within the elements on the page. We see it a lot in catalog, advertising, collateral, and web oriented assignments.

For this particular assignment, the image had to be crafted to fit in the pre-approved design of the point of purchase (POP) display. Designed to go in hundreds of mom ‘n pop hardware stores and nurseries the goal of the shot is grab some attention and get the viewer to take a brochure. There would be three brochure racks hanging below the lower band and hide most of the image.


A WordPress Plugin for Photographers

A Kickstarter for Photographers to LOVE.

My friend Jon Mathers is a photographer / programmer down in Perth, Australia. He and I were chatting about some new and better tools for photographers using WordPress, and Jon decided to build a small suite of tools that I thought were missing. We started with a mosaic gallery, and a horizontal scrolling gallery that are quite hard to find in a lot of themes.

(Demo Site) – and as one of the beta testers, I can say there is a LOT more coming than is visible here. This Plugin is amazing and filled with little gems that will be exciting for commercial AND consumer shooters.

We then thought it would be cool to add a document area for keeping track of items we may want to keep together for projects.

BAM… he was off to the races and this plugin has been growing and growing and will be an amazing tool for photographers. The Project 52 members are beta testing it and so far loving it. There are few – if any – similar plugins out there.

Here is what it has in the suite as of this morning. I am running it and will attest that it all runs great.

Masonry (mosaic) gallery.
Horizontal scrolling gallery. (Editorial shooters love them)
Before / After tool for showing images comparison (one over the top with a reveal slider)
Panoramic Viewer for ultrawide photographs
Print Gallery: Create a selection of images that can all be printed on one sheet for a client. Also allows the client to take out images they don’t want. Great for proofing or providing a prospective client with a take-away.
Projects: Gather notes, documents, images and links for all sorts of assignments and personal projects.
Contacts: Create contacts and label them for jobs/leads/prospects as well as what kind of contact they are (Art Director, Designer, Editor etc…)
Products: These can be hard products (prints, framing) or virtual fees (day rate, per shot rates) that are created and maintained by you. Perfect for creating quick quotes when you need something fast.
Quotes (Bids): Import the contacts, attach the products, add as many vendors/suppliers/rentals as needed and out comes a quote ready to print.

With this arsenal of tools, a photographer can become real serious about their business and work my suggested “Three Contacts Per Day” method easily and effectively.

Jon is working quite hard on this Plugin to get it ready for full implementation. I know he has spent some out of pocket and will incur some additional costs when he brings in some PHP pros to make sure the whole thing works perfectly and meshes together well. (It does now, bu he wants to make sure his code is up to snuff… he is a perfectionist in this stuff.)

I know you will love this WordPress Plugin, and his Kickstarter is quite modest in what he is seeking (enough to pay the PHP crew).

PLEASE take a look and help him – and yourself – with this great plugin.


New Portrait Workshop: Environmental Portraiture (SECTION 2)



Technical Approaches To Portraiture

We examine environmental portrait lighting techniques from seven of the world’s best photographers. From natural light to blended natural and artificial light, students explore each technique as they apply it to the weekly location/environmental portrait assignment. 

Posing Techniques for Portraiture

Learning about how the world’s top environmental portraitists work with their subjects help photographers find and develop their own methods. Studying the images, re-engineering them and finding out how to present the subjects as they do adds more tools to the process.

Photoshop Integration for Environmental Portraiture

Each assignment also includes appropriate Photoshop techniques for the student to explore – from Frequency Separation to creating ethereal and emotional lighting effects, we have gathered the best tutorials available for each weeks workshop.

Explore the Work of 8 Environmental Portraitists

Each assignment features the work of a contemporary or modern photographer and provides the direction for the shooting assignment for that week.


8 Week Portrait Workshop III: Environmental Portraiture



8 Week Portrait Workshop III: Environmental Portraiture

Jake Stangel on Starting Out as a Professional Photographer

Jake Stangel on Starting Out as a Professional Photographer

Jake Stangel is one of my favorite photographers. I love the fresh way he shoots, and his no-nonsense approach to making images that reveal more than what may meet the eye in the real world.

First: here is an hour talk he gave at CCA, and it is really good.
(Below is embedded talk from above link.


He had no gear starting out.

He lived in a small town in Oregon after college.

He had nearly no knowledge on lighting, commercial photography, shooting to layout, working with clients, bidding, billing, and finding work than you do. He realized it, and began to learn. From the photographers he assisted, to the photographers he hung with.

So don’t think it can’t be done.

It is not easy, but if you have a fresh eye, a thirst for knowledge, and some guts. It can most certainly be done.

Enjoy his many portfolios here.

Shooting to Layout: P52 Members are “Cooking” with heat!


The assignment was given with a “napkin” layout. A very simple sketch similar to what we get from AD’s from time to time. Then the photographers got to download the layout – and shoot to that layout exactly. It is one of my favorite assignments because we get to see the same layout with different treatments.

Here you go:
(NOTE: If images appear cropped, please click to the post page for full image views.

A Few More Portraits

The 8 Week Portrait Classes are now finished. I added a bonus photographer on for each of them (9 photographers per class) and this is the gallery of inspired images from the bonus photographer for the 8 Week II class, Mark Tucker. We look at the work of the photographer, study the lighting and posing and direction that is evident in the work and then create images that are inspired by that photographer. We do not copy or try to recreate, we use the work as inspiration, and Mark is an inspiration to us all.

The student gallery from this last assignment:

Ten Things to Remember As You Begin Your Photographic Odyssey


Ten Things to Remember As You Begin Your Photographic Odyssey

I stopped doing what I was doing and began to be a photographer one day. I had been around photographers, but I didn’t have any clue what being a “professional” really meant. I simply started out as a photographer, then learned that I needed to assist first, then hit it again as a photographer. I made a lot of mistakes. I went to the School of Hard Knocks for undergraduate and “Mean Streets, U” for upper grad work. I learned from the seat of my pants, and took a lot of risks… some paid off kinda good, some didn’t work out at all, and a few hit big time for me.

But when I talk to a lot of photographers who are starting out, they have a false idea of the business. They don’t understand the focus needed, or that it may be kinda damn tough for a while. Sacrifice means they may cut back on cable channels, or get a 15? MacBookPro instead of a 17″.


I have ten principals that will keep you going when you start out. I wish I had known about them when I started out. I know they work for me now as I start yet another company in a down economy… heh.

Here we go…

1. You are going to have to work harder than you do when you work for someone else. Got that? Let me say that again – You will be working harder at being a photographer than you will work if you keep your corporate, or other kind of ‘employee’ gig. It isn’t up for discussion, and you better damn well be prepared. No one is going to be watching your clock, that is up to you. There is no one who will be telling you to get up earlier and stay up later… you will have to do that. Work is good. Work is healthy. You will be good and healthy when you are moving toward a successful photographic career.

NOTE: If working harder than you are working now doesn’t appeal to you, go ahead and skip the other 9… take a nap or something. It really ain’t no big thing. Photography as a career may not be right for you.

2. You can never give up. You can never give up. You keep at it until you have NO other way, then you find another way. I don’t care about what challenges you have, you must not give up – ever. Even when you want to (we all want to now and then… believe me, it will pass), you keep going. It takes years to get this thing going on… so be prepared.

3. Sacrifice will become something that you become familiar with. Maybe you move into a smaller apartment, drive a used car, eat macaroni and cheese a bit… trying to live the life of a successful photographer while you are scrapping along makes no sense, and will drive you to ruin faster than most anything else you do…

4. …except spending too much money on gear you don’t need. Rent, borrow, marry someone with great gear… just don’t spend all of your capital on a lens you use now and then. Make a detailed list of what you need… go ahead, we’ll wait. Got it? Good, now trim a third of that… there ya go. I am a photographer – I know what my list would look like… heh.

5. There is a reason you are a photographer. Find it or keep looking till you do. Some call it a vision, some refer to it as a calling. It is YOUR defining work. Shoot and shoot and shoot some more until you find that special work that is YOURS. Then keep at it until other people know what it is you are doing. You will know when you connect with your vision… you can feel it. Do not let anyone else take you down or sway you away from your own vision.

6. You are gonna screw up. And you are gonna screw some things up pretty bad. So f’n what? Everyone fails at some point. It is what you do after the screw up that makes that failure critically dangerous, or greatly empowering. Did you learn from the screw up? The answer better be yes. Will you screw up like that again? Answer there better be no… emphatically no. Learn from your fail, get up, dust yourself off and keep going… (see #2 above).

7. No matter what, death is not on the line. You are going to be a photographer, and work really hard, and fail occasionally… but it wont kill you. You will survive the screw up, the short month, the fourth meal of mac and cheese in a week, the used Toyota… You. Will. Survive. People will tell you that you are crazy and it isn’t worth it… that’s what people do. Tell them thanks, and keep on with it. You will survive. And you will grow, and one day look back and be able to tell others about your struggles… and no matter what, you will embellish to make them sound even worse than they were when you were going through it.

8. Wake up in the morning and be happy, grateful even, that you are doing what you want to do. Sure its hard, sure it has its challenges… but it also has its rewards. And it is what you want to do – well, need to do really. You wake up a photographer and you get to make photographs. That is soooo much cooler than what you were doing, right? And we know way too many people who hate their jobs. They wake up and count the days to the weekend… we never really work a day in our lives, but we are engaged at a level most will never be. 12 hour days or longer? No problem. We are photographers, in charge of our own destiny, and doing something we can love.

9. Don’t sit down. Don’t get cocky. Don’t let a lazy day stretch into two. You are in a race, a competition, a driving force of creativity that is pushing you – and others – to get the work. One hit isn’t a career. (Remember Christopher Cross? Yeah, neither do I – look him up.) Letting up gives the ones that are drafting a chance to gain the lead. Now, look, I am not saying that you need to be petal to the metal and fiercely competitive and never ever have a moments rest. I am not saying that… I mean to say that it may feel that way. You must learn to deal with constant competition, constant need to grow and constant irritable distractions that make it harder to keep going.

Keep going.

10. Do it all out. Do it full on. Give it ALL you have, then dig down and find a bit more. You know that silly marketing thing – 110%. Yeah, that is really mathematically impossible and totally irrational in our business. In this business you give 115%… get it! And love love love what you are doing. It feels so much better, and it gets easier when you are going big. Really big. As BIG as you possibly can.

I know you have heard some of these before, but we rarely hear them in schools (they are afraid if you really know what it will be like, you will quit and they wont get their money). We rarely hear them in the forums because so many in the forums have no idea of what they are talking about. And many times those that do don’t get heard due to the noise level of the naysayers. Sometimes they are simply busy doing it, so really don’t have time to argue with those who think they read something somewhere that a guy said his brother’s girlfriend once heard…

Get out there. Shoot shoot shoot. Build a business. Don’t quit. Learn from your mistakes and keep moving. Tell the naysayers that you are too busy to hear them tell you about not being busy.

And love what you do everyday for a change.


Catherine Vibert Delivers Social Media Headshots

Catherine Vibert Delivers Social Media Headshots

P52 Alum and member Catherine Vibert explains the necessity of having a perfect headshot for Social Media. This kind of client centric marketing will create an interest in those needing to have the best headshots they can get. And – that is EVERYBODY on social media as a business person.

Well done Catherine.

“Social media and marketing collateral formats are not a one size fits all thing. You will need to be able to crop your pictures to fit Facebook, LinkedIn, Twitter, About Me, and any other myriad of social media outlets. This is my speciality. I shoot with cropping in mind. To get the most bang from your buck out of one single headshot, it needs to be shot to be chopped. I made a little collage of various crops from the same picture.”

See how she did the magic at her website.


An Easy Tool for Shooting to Format

An Easy Tool for Shooting to Format

Project 52 Alums Anna and Filipe (McGunn Media) have created a set of templates (mattes) for shooting to formats that are many times required – especially by social media.

They have made them available free on their site as well, so you can download them if you need to shoot to a specific format (say a Facebook Header) and want to make sure the composition fits.


Large Format Shooters: This Looks Really Interesting

Large Format Shooters: This Looks Really Interesting

GALAXY HYPER SPEED Direct Positive Photo Paper

I love shooting large format cameras, but the hassle of developing 4×5 and 8×10 negatives can be daunting unless one has a full darkroom. Paper is easy… safelight and some trays and you got it.

This project will bring some sanity to those of us who really love the look and feel of a large format image, but have trouble getting the negs developed. Yes, there are labs – but take a look at what they charge. A weekend shoot could easily run $200 for 20 or so images.



(images from the kickstarter page)

The answer is to shoot on paper.

I load my 8×10 with the paper I use to print on and make images directly onto it. I can then develop the image in a tray under safelight. Yes, the image is a negative, and yes it is backwards. A simple scan of the print can fix that. Or, do a copy shot on your DSLR and reverse it in Photoshop.

(For those of you who like to think out of the box, shoot the paper negative onto black and white negative 120 film and end up with a positive transparency of the image… small but mighty. Scan the positive as a transparency.)

Check out this KickStarter project and see what they are offering. I am in at $150. I hope you all support this project and enjoy a bit of a resurgence in the interest in large format photography.

GALAXY HYPER SPEED Direct Positive Photo Paper

“We all know about direct positive photo papers nowadays. With all their nice features they lack one very important quality – the high speed. Every single shot is very time-consuming for large-format photographers, and fellow pinholers struggle sometimes for hours. In addition, if there is a moving object in the shot, the object turns out blurred (if it appears at all). However, 70 years ago photographers already had a solution to this problem – Kodak Super Speed Direct Positive Paper.”

Link here. Send them some love.

24 Frames In May II, 2015 Edition

We had an assignment on Lighting Essentials that was fairly easy to be involved with… sort of. The assignment was to load one roll of 24 exposure film into the camera of your choice and shoot each shot as though it were the ONLY shot you had. No ‘bangin’ off a motor drive, more like treating each frame as a singular image with the importance of a view camera.

Below are the amazing shots the photographers did in contact sheet form. Damn I miss contact sheets.

First up, Rudy Giron, Guatamala.


Rudy Giron's Comments on his 24 Frames

Rudy Giron
• Canon EOS Rebel XS [EOS 500] from 1993 with 28mm 2.8 lens
• Lens: 50mm F1.4 AIS, 105mm F1.8 AIS
• Film: Expired Fujifilm Superia X-tra 400 color film from 2001.
• Scanned at Kodak mini lab, Antigua Guatemala

Rudy Giron Photography
• Antigua Guatemala, Central America
• Tel: +502 4569 4419
• Email:
• Website:

24 frames of film for May 2015.

I used an expired roll of Fujifilm Superia X-tra 400 color film from 2001 on a Canon EOS Rebel XS [EOS 500] from 1993 with 28mm 2.8 lens. Some frames exposed more or less well, while others were under/over exposed. I don’t know if this is camera error or simply the film was too old. Most frames were shot at f2.8 while others at f5.6 if enough light.

My theme is entitled “Come in” [“Pase adelante” in Spanish] which is what vendors would say as you enter their business. I tried to show all kinds of business as seen from the doorway. About half the roll is from tiny business found in villages around Antigua Guatemala while the rest of the roll was captured on the more affluent shops in downtown Antigua Guatemala.

My cost for this film project was $3.75 for film developing and scanning of the 24 frames at 6 megapixels [8″x10″] plus an index print at my local Kodak mini lab. I had the roll of film and I provided an SD card to the lab so I didn’t have to pay for a disc. The turn around for developing and scanning the 24 frames was 1 hour. They still sell a roll a 24-frame of film at this Kodak lab for $5.

Next, I will get some black and white C41 film as this is the easiest and least expensive way to have black and white film developed, scanned and printed in Antigua Guatemala. I have a few more themes in mind, for instance, portraits of the vendors inside the local market.

Alfred Kypta has a write-up on his blog about the 24 Frames in May assignment.


Steve Gray did last year’s 24 Frames project as well.


Steve Gray's description for his 24 Frames submission.

As with last year, I used my trusty Minolta X-370, using a 50mm f/1.7 lens. This time I opted for Ilford Delta 100 black and white film. Apparently the light streaking I saw last year was indeed caused by the old film, and not by the camera. Yay!

I sent the film off to The Darkroom (, which did an okay job. I did see a little bit of oddness in one or two frames (probably from handling the wet film). I corrected what I could with Photoshop, and I tweaked the cropping and contrast a little…so these are not genuinely straight out of the camera shots. Still, I’m okay with what I got. I bought a second roll of the same film, and now I need to plan an activity to shoot with it. If I keep this up, I’m going to have to splurge on a developing tank, chemicals, and a scanner. Heh.

The images can be viewed individually on my website @

My base website is

From Catherine Vibert:

Hi Don, here is the contact sheet, and the link is here: This was fun!


Melissa Hanson‘s entry.

Melissa Hanson, Utah
Pentax K1000, 35mm
Sigma 28-70 zoom f:2.8
Sears 70-210 macro-zoom f:4
Kodak High Definition ISO 400
Lab:  Atelier A.F.A.
Flickr album:


Chris Dean:


Chris Dean's Info

Camera: Hasselblad 500 C/M with 80mm Zeiss 2.8 Lens
Film: Kodak Portra 160
Developed and scanned by a local lab (
No cropping or editing

Chris Dean:
Twitter: @chrisdeanphoto
Instagram: @chrisdeanphoto

Full size pictures available at:

Last year’s 24 Frames in May was my first (serious) attempt at shooting film. This year I thought I’d make things even more interesting (difficult) for myself by getting to grips with a medium format camera. There’s a lot to learn!
It has a 6cm x 6cm negative, so everything is short in square format (a 1:1 format rather than the 3:2 of my DSLR).
It has a waist level viewfinder which means you look down into the camera, and left-right is reversed, which is a little confusing!

There’s no built-in light meter so you have to take light readings separately (or rely on the sunny 16 rule).
The negatives are a lot bigger than the 36mm x 24mm of a “standard” (35mm) film camera, which means the depth of field is very shallow, and you need a very steady hand (or a tripod) to avoid blurry shots. Focusing is critical and hard!
Unlike a digital camera where you can take hundreds of shots, you’re limited to 12 shots per roll of film. So you need to make sure you’ve got that shot, especially when you’re trying to treat each frame like gold dust.

May was especially hectic this year, so I didn’t ending up spacing out my shots to the extent that I would have liked, and the medium format camera slowed me down even more than the film 35mm did. So I rounded off the roll by taking a portrait of everybody attending a fancy birthday dinner I was having.

I had great fun. I’m looking forward to shooting more film, and have booked myself into a black and white darkroom developing course – can’t wait!

Bret Doss shot in and around Seattle.


Bret's Info

Participating in Don Giannatti’s Project 52 has a lot of fringe benefits in addition to the exceptional training; for example, a challenge to get out a film camera and shoot 24 Frames In May.  I was happy to be able to participate this year, and also to find a clean Pentacon Six medium format camera (and some really clean lenses) on eBay.

The official challenge is to shoot 24 frames, one a day, and with a medium format camera that would mean two twelve-exposure rolls.  I had to follow a different path to my 24 Frames.  Since the camera was new to me, as were the lenses, I shot some tests as well to make sure everything was working.  As I was using some extension tubes for some of the calla lily images, I was estimating the compensation factor, and so did some bracketing.  The nature of my life and of the calla lilies I acquired for the project did not permit making only one frame a day.  In the end, I exposed six rolls of 120 film over two separate days, and selected 24 from amongst the test &bracketed images, ignoring the failed test images.  I used Portra 160 for the color images, and mostly Ilford HP5 (ASA 400) for the black and white (the last two you see are Ilford Pan-F — ASA 50).  Lenses were mostly the 80 and 65 mm, though I also shot with a 120, 180, and 300 as well.

I went to some of my favorite subject matter: the marina area and some calla lilies in the studio.  I used open sky window light for the callas.  I think next up will be some portraits with the Pentacon!

The film was sent to The Find Lab, using their Fatboy scanner option. Great service and quality scans.

The only post I did was some slight levels/curves for those images where neither bracket was ‘just right’ and I needed to be somewhere in the middle.  I retouched a very few hot pixels that appeared in very few of the scans, and applied a light sharpen to the images.

all images © Bret Doss, All Rights Reserved

Jorge Rodriguez Santos shoots in Cambodia.

Camera: Seagull 4A-107 TLR
Film: Ilford Delta 100 120mm
Scanned in color setting to give the sepia tone.
Jorge Rodríguez Santos
Jorge Rodríguez Santos Photography
Siem Reap, Cambodia

Tomas Jansson


Tammy Bogestrand

Olympus OM2n
24mm Olympus lens
Tri-X 400 black and white film.

I limited myself to the 24mm for the entire 24 frames.


Reed Waters:

1960 Yashica Mat
Kodak Porta 400 120 film.
These are out of the camera, no post processing.

Michele Cushman
Camera: Nikon N65
Film: Ilford Delta 100 Professional Black & White film
Developed & Scanned by The FIND Lab
no editing of the photos
This was my second time participating in the 24 Frames in May project. Last year I also used black and white film and documented a trip back home to NYS for my nephew’s first communion. This year, I photographed my youngest son’s first flight lesson up in Frederick, MD.  Another P52 photographer, Bob Knill, set up the flight lesson for him on what turned out to be a beautiful day.  I captured the essence of the day with my favorite photograph being the one where my son is out of focus standing outside the hangar while I focused on the nose cone of the plane. That shot turned out exactly how I had envisioned it in my head before taking it.  There are a couple of shots where they are identical because of a happy trigger finger.  Overall I am happy how these turned out.

Darla Hueske had a film mishap and only 15 of her shots came out unscathed. A shame because so many of her images are really good.

Time to Put the 8 Week Portrait Class Away for A While

Time to Put the 8 Week Portrait Class Away for A While

Winding up one of the Portrait Classes:

I have loved teaching these mini classes and studying some of the great modern portrait photographers. I believe much can be learned when one immerses themselves into the work and looks deeply into the work and styles of those masters of the medium.

The students have raved about the classes all year, and it is kinda sad to retire them for a while. Of course if you were a student, you still have access to the course materials and all of the videos we created (over 72 hours of video classes and reviews).

I have no plans on when I will do this class again, but I will have a self guided class for those who want to learn on their own. If you are interested let me know by email.

To all of the photographers who have taken this class a big THANK YOU. Your work was an inspiration to each other and me as well.

Exceptional effort will realize exceptional results.

— Don

(NOTE: The last Portrait 102 class will be winding up in two weeks. I will be putting it away as well.)