Find Photo Clients NOW Webinar This Thursday

Find Photo Clients NOW Webinar This Thursday


I want to share a few things about the Find Photo Clients Now System, and why I know it will help emerging photographers in smaller markets develop a real and meaningful approach to business.

I will discuss how it came about, how I used it successfully in three businesses, and how it is working for many of the P52 members who are currently using it.

I am not a guru, nor am I gonna spend 30 minutes trying to ‘sell’ you on it. The free stuff that is part of the system is valuable as hell, so this is just a discussion on how it works.

Guest photographers who are using it will be in attendance as well.

Join us on Thursday, 5PM Pacific, for the webinar.

Sign up here.

Why I Changed the Approach to Find Photo Clients Now




I have wanted to teach this system for quite a while now. It works. I know it works because I have helped dozens of photographers to use it and make it work for them.

There is a wave of teaching going on out there, and it is something I love to do. So I bought a course on how to build a course and found out that I already know how to build a course. I was just $1400 lighter in the discovery.

No matter. I want to make the best courses around and I think I can do that my way. the “engaged” way.

I call it the “authentic” way.

The course I bought teaches one how to make courses that run themselves. “You’ll make more money” they say. “You wont have to work so hard”, they tell me.

OK… fine. But neither of those things turned out to be authentically of any value to me. I don’t teach to get rich. Seriously? I don’t teach to have a free ride or expect it to be easy. I teach because I care – not only about the students, but the material I am teaching as well.

So I changed it up.

Instead of me not being involved and it just being an online set of videos, I decided that I will be involved and work with the students to understand, implement, and be successful with this system. This means less ‘sales’ but it also means we get real interaction and real engagement. There are only 20 total students for each class.


I designed it to get more clients for my studio. And it worked. I implemented it in my ad agency and it worked there too. I have helped others implement it and it has worked for them. And I designed this system back when cell phones were new. Yes… it is a tried and true system.

Now we have the internet to boost us along. We have Google and Email and social media and did I mention Google?!?

The internet was like taking the system and giving a high dose of endorphins and stimulants.

Where it worked before, now it can work quicker. And with even more precision.

Let’s get one thing straight though – it is not a “get rich quick” scheme, or any kind of “secret” to success. It is not a shortcut, fast-track, eezypeezy solution that will allow you to work in your pajamas 15 minutes a day and make “big money”.

All of those things are bullshit. Pure unadulterated BS.

This is a system that helps you organize the businesses and people that can and will give you commercial photography gigs. From discovery of what your authentic work is to researching where those who hire photographers are, the system helps you identify the opportunities in your town, city, or region.

And we do this system to help it make sense to you so you can grow it into something that works for YOU.


Your success is my success. I sincerely want you to get out of the grind of having no clients, or shooting consumer work because that is all you have to shoot, and into the commercial / editorial / advertising world of photography.

Now there are those who will tell you that that world is dead. Most of those who are telling you that are simply those for whom it was not possible given the amount of work they were willing to commit. If you aren’t driven or committed, your expected successes will be commensurate to that low drive.

They blame the market, the President, their home life, the economy, and blah blah blah.

But they cannot answer the question “why are others who are less talented doing so well?”


My friend David spent two and a half months compiling his list, researching names, finding the clients and companies that he KNEW he could work for. If he wasn’t shooting, he was researching. When he finally hit the marketing he ended up with 6 clients that made that work worthwhile immediately.

And he hasn’t stopped growing. From local clients to international clients in less than four years.

The system – customized for him – keeps him on top of the business, and top of mind with clients and prospective clients.

But I have a confession to make. I am not an internet marketer. I am not a web ‘sales guru’.

I won’t send you 30 emails in a row begging you to take my course. That is really icky stuff… and it is not me.

I have set up a page that you can sign up to see if the system looks good for you. A small portion of it is available if you want it. And it is four highly informative videos you get once per week. After that I will send you two “offer” emails. One on the fifth week, and one when we open a new class.

That’s it. No “hurry up” emails. No “it’s closing at midnight” crap.

Just two.

That is authentic. Life offers you something and you either take it or leave it. I am not going to beg you to invest in this course. That is not me either. I am simply saying it works. I think you should try it.

You will be able to find, connect with, sell to, and keep commercial photography clients. Period.


Go to Find Photo Clients Now and sign up for the system. Full of info and no selly-selly.

As I said, your success is my success. And I love success.

BTW – if you want in the class that starts April 16, go directly here. We have 4 open spots.

(Header photograph by SohFong Ung.)


Sometimes we discover that we need a system to organize all the information we get thrown at us from every kind of media available.

That is what this system does. Like a highway map, it allows us to navigate all the available sources of commercial photography assignments and helps us identify the people and businesses that NEED our expertise to move their product.

I hope you take me up on this offer for the free training. And if you want the premium training, we will have classes starting whenever we have enough interest.

March Madness: 28; Showing Motion

March Madness: 28; Showing Motion

Showing Motion In a Still Image

by Sarah Flannery

Our most recent P52 assignment was a to portray the concept of “speed.”  The image was to be used in billboards and magazine ads for a local motorcycle and bicycle delivery company.  I quickly came to the conclusion that I wanted to somehow show motion in a still image.  I dug out some Matchbox cars from our toy bin, and set to work.  I built a “hill” out of a couple of shoeboxes with a piece of black foam core resting on it.   As you can see in the behind the scene (BTS) image to the right, I used two bookends at the bottom of the ramp to keep the foam core from sliding off the shoeboxes.


To imply motion and show the concept of speed, I wanted to get streaks behind each car, with the car in sharp focus at the bottom of the ramp.  To create streaks, you need three things:  a flash set to rear curtain sync, sufficient ambient light created by using a slow shutter speed, and a moving object.

What is rear curtain sync?  Rear, or second curtain sync, is a speedlight mode where the flash fires right before the camera shutter closes.  It is designated on the flash display by three overlapping triangles.  In front or first curtain sync mode, the flash fires when the shutter opens.  If the flash is set to front curtain sync, the car will be sharp at the top of the ramp and the streaks will appear in front of the car, which is definitely not the look I was after.  Rear curtain sync allows the motion to occur and then the flash fires at the end to capture the object at the end of its journey.  I used one unmodified speedlight positioned at the bottom of the ramp, as I wanted a hard shadow.  I also put a white card on the far side of the scene so that some light would bounce in to fill in the shadows on the left side if the cars.

Why do you need ambient light?  If you were to shoot the image with the flash as the only light source, it will freeze the motion of the car, regardless of the sync mode.  Introducing ambient light into the scene provides light for the camera to track the car’s path down the ramp, showing it as motion blur until the flash fires and freezes the motion of the car.  A slow enough shutter speed provides the ambient light and allows enough time for the car to traverse down the ramp.  For this image, I set up my table next to a window so that it was directly behind the camera and the window light was falling directly on the ramp.  This is a picture with a description of the set up:


After about 20 attempts to release the car in time for the flash to catch it at the bottom of the ramp, I decided to take chance out of the equation and I fell back on a little trick I’ve learned in P52.  Fishing line.  After a couple of different assignments had me throwing things around and hoping my trigger finger was fast enough to capture the object in motion, I bought some fishing line.  In this particular case, I tied it to the back of the cars and was able to slowly release the car down the ramp, while also being able to control the direction of the car.  I shot each car independently and blended them all together in Photoshop.  All I had to do was to edit out the fishing line, which was a quick process using the healing brush.  The three individual shots are below:


Here is the resulting image; does it say “Speed” to you?

P52 Assignment 33-078-Edit v2

There are many uses for this technique, both in and out of the studio.  You can use it to capture motion with someone running or biking outdoors.  Just remember that you need a slow shutter speed, which on a bright and sunny day may require the use of a neutral density filter.  Experimentation is your friend with this technique, so give it a try.

March Madness: 26; Photographing Cosmetics

March Madness: 26; Photographing Cosmetics


By Anjali Fong


Shoot an ad for a local cosmetics company. Use something as a prop to help stage the cosmetic(s) you choose to shoot. Perhaps a stone, or a flower, or a lovely piece of wood. Set off the cosmetic item with a single, dramatic item. It doesn’t have to be in focus, and it is there only to reinforce the cosmetic item.


I love the design of the packaging of this all-in-one makeup for face and eyes, but the color palette is very nude & neutral. So I decided to create a dramatic effect to the provided brush – by having fun with the blusher powder.  Hence, layering of images are required.


I decided there need to be multiple images with different lighting setups:

  • The base image of the makeup box and the brush (darker exposure)
  • The base image of the makeup box and the brush (correct exposure)
  • A brighter bristle brush shot.
    (Note: The above 1-3 images need to be created first before the mess begins with the flying powders)
  • One clean image of some blusher powder on top of the brush bristle.
  • A few shots of the flying powder effect. I found the best way to make the powder fly is by tapping a straw on the top of the brush.


March Madness: 25: One Thing About One Thing

March Madness: 25: One Thing About One Thing

How would you say just one thing in an image?

by John McAllister

Moreover, how can you convey a wide-ranging concept such as ‘just one thing’ that is both immediately understood and eye-catching?  For me, it’s starting with the creation of a list of descriptive words – writing down what pops into my head. Getting ideas out onto paper without restriction, not concerning myself with whether it is right or wrong. Just five minutes later I had well over a hundred words in front of me… a great starting point.  To simplify the list, I put them into vague groups such as emotion, movement, colour, senses and so on.  Now that I had this organised in front of me, I was starting to add more words as ideas feed on ideas.