Eric Muetterties: East Bay Commercial Photographer

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Meet Eric Muetterties, a working photographer in the East Bay area of San Francisco.

I met Eric 4 years ago at a workshop in North Carolina, and we shared a plane coming home. His attention to detail and love for the medium made me think he could actually do this crazy business. Adding that he really understood business made it all come together.

Eric started out wanting to shoot people, but has ended up as a studio still life / product photographer. Working mostly with direct customers, he has built an exceptionally strong client list and shoots 4-5 days a week in his Dublin studio.

Eric is still a relatively new shooter, but doing very well in a competitive market. I attribute that to his skills as both a photographer and a business person.

Eric feels he owes his success to an acronym he calls COPS.

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Consistency | Opportunity | Persistence | Stamina

You will hear him discuss it on the video. I think that is a very solid set of traits for anyone considering this business, or any self employed business that you can think of.

Links:
Eric Muetterties Photography Website
Eric on Linked In

Some of Eric’s Images:

A video Interview with Eric Muetterties.

A big thanks to Eric for spending some time with us and sharing a lot about his work. Visit his site and drop him a note if you like what he does.

Eric reminded me that he would love to recommend this book for anyone considering becoming a photographer:

If you are interested in the “No Fear” last edition of Project 52, visit this page for more information. We will fill this group very quickly.

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Finding and Keeping Commercial Photography Clients: Part Four, Staying Connected

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(NOTE)
If you are just coming into this series, I highly suggest you start at Part One, and then do Part Two and Part Three before starting Part Four. Links for all of them are inside the protected area, and you can access them easily.

A brilliant portfolio won’t get you work if no one sees it.
A full set of Channels and SubChannels means nothing if you have not implemented a plan to get the work.
Having an amazing list of possible clients is worthless if you are not contacting and showing and sharing your work with that list of clients.

This morning before I sent out this week’s In The Frame to subscribers, I received an email from Chris Brogan, someone I follow and admire. In it he asks if we are the “Sharpest Saw in the Shed?”

And we would all like to consider ourselves the sharpest around, right?

Then he pointed out the that sharpest tool in the shed is the one that is NOT working, or being used. It just sits there retaining its sharpness… and if that is the goal, then great. But the goal of a sharp saw is to cut wood, trim trees, build things.

So it is time to get dirty, so to speak. To take all that we know and have listed out and make a plan for getting in front of the clients we want.

It wont be easy – did you expect it to be?
It wont happen overnight.
It wont happen without extreme effort and deep commitment.
It may get messy.

But it is absolutely vital to your growth and health as a commercial artist with a camera.

No selling on this post. While this program is being finished up, I will be working on some marketing for it as well. I didn’t want this mini-program to be a huge selly-sell. It is designed to be real, positive, and constructive teaching on what you can do NOW to increase your viability in this great business. More will come later this summer. I expect the program to be finished around the end of July or first of August.

Subscribers to “In The Frame” have gotten this information already. Please subscribe to get access to this video, and the next two. They are full of information you can use right now to help build a strong client list. “In The Frame” comes out each Sunday, and we never spam you. We focus on the business and art of commercial photography. And please et me know if this series is helpful to you.

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Every Sunday a new relevent newsletter on the art and business of commercial photography.

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Irene Liebler and Sandy Connolly: Starting the Journey

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Irene Liebler was one of the Project 52 members from a few years ago. She did the course twice, I believe and rarely missed an assignment. She also rarely did an image that we were not blown away by. Irene is a consummate artist, and a painstaking perfectionist when it comes to making the image she sees in her head.

She is also a commercial photographer in a small town near Hartford, Connecticut.

Her partner, Sandy Connolly is also a photographer who also does business development and produces many of the shots they do. Together they are the “Hurricans”… you just have to think about that one… heh. And they do their work together at Super Nine Studios.

Links:
Super Nine Studios Website
Super Nine Studios Facebook Page
Twitter
G+
Blog

As you know, the world of commercial photography runs the gamut from highly creative approaches to providing the client with exactly what they want. Irene and Sandy do just that – providing a creative pallet when needed, but also capable of creating the working commercial photograph when it is appropriate.

Some examples of the work Irene and Sandy create at Super Nine Studios, Connecticut.

A video interview we did for you is here, and Irene and Sandy discuss their unique working arrangements, how they got started, what is happening now and plans for growth in the coming months/years. They also share a few of their assignments with you as well as provide a few tips for those just getting started.

 

We will be presenting more of the Project 52 members who have successfully made the jump into professional commercial photography all month.

I am doing Project 52 one more time; I call it the “No Fear” edition and enrollment is now until the end of June, or we get 100 students whichever comes first. (At this point, registration has been open to the public for 24 hours and we are over half way there.)

See this page for more information or to enroll in Project 52 Pro – “No Fear” – we start July 1.

Thanks for visiting.

Finding Commercial Photography Clients: Part Three; Getting Personal

(NOTE)
If you are just coming into this series, I highly suggest you start at Part One, and then do Part Two before starting Part Three. Links for all of them are inside the protected area, and you can access them easily.

So far we have been working on our portfolios, making them reflect both our vision, and the needs of clients that would hire us. And we have begun building out our channels lists so we know where to go looking for those clients we want to work with.

Channels are the big picture look, and now we have to look at the more granular ‘gatekeepers’ and ‘middle entities’ that give us access to the assignment photography we want to do.

In this presentation we will examine the channels list and break it down into the specific clients and companies that we need to access. In this video I will show you how the different entities work, and what you should know as you begin to pursue commercial photography assignments.

Subscribers to “In The Frame” have gotten this information already. Please subscribe to get access to this video, and the next two. They are full of information you can use right now to help build a strong client list. “In The Frame” comes out each Sunday, and we never spam you. We focus on the business and art of commercial photography. And please et me know if this series is helpful to you.

Subscribe To "In The Frame"

Every Sunday a new relevent newsletter on the art and business of commercial photography.

You have Successfully Subscribed!

“Light Conversation” Volume Four

EDIT:

In the discussion above, we look at this image by the incomparable Herb Ritts.

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We were wondering where the shadow of the black cloth went. I know that Ritts shot film, and figured there must be another answer for where the shadow went.

Then I researched this photo:

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From the same shoot, and the shadow is plainly visible. As it must be for the light to present the way it is on the image above it. It appears that Ritts indeed took out the shadows in post… whether it was digitized or multiple printers, the shadow was removed.

See this close up of the image two above:

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That is INDEED a hard shadow on her face and neck. This indicates a very bright light, and since the cloth was casting a shadow to the left, it would only stand to reason that the shadow would be cast from the model as well… but…

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Seeing the dark, sharp transition on her face and neck from the light source that is clearly leaving bright speculars on her legs, it is only logical that the shadow was removed in post in order to create a more graphically interesting image.

 

Another example: There is no way to make this shot without a shadow of the cloth… it has been – – eliminated.

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Mystery solved.