Posts By Brad Moore

In February of 2012 I did my first post for Scott's guest blog called It's All About The Jaw! I'm not particularly keen on writing, so I decided to do it as a video blog on the very first direction I give everyone who steps foot in front of my camera. It ended up being a huge hit and was his most popular guest post of 2012.

Having outdone myself the first time, I found myself pushing off a second attempt in fear of not being able to live up to the hype. Well, I finally got the courage to create my second effort and you can judge for yourself whether it makes the cut or not.

It's the second in this little series I'm doing and it's called It's All About The Squinch! I know what you are thinking… What the heck is squinching? Truth is I made it up. You'll have to watch the video to get a sense of it, but I believe it is the single reason behind me being able to talk to you right now.

13 years ago I picked up a camera and started shooting models and actors in New York. I had no formal training, and only a camera in my hand and my desire to become a successful portrait photographer. Being a former model, I knew that whenever a camera was pointed at me I had to do something; create a look, make a move, fire out an expression, whatever. Anything but sit there looking blank and lifeless.

As a fledgling photographer I began looking at other's work, specifically the headshot industry here in New York. I saw one thing that was repeated over and over again. Blank lifeless images with absolutely no juice coming towards the camera. Why didn't I see the same thing when I looked at celebrities in magazines? Was it the photographer or the celebrity that made the difference in those shots? I believe now that it's a bit of both, but it was then and there that I decided it was my mission to create interesting expressions for my clients.

That's right, I had to create it for them. I couldn't leave it up to my clients to do it on their own. It was my work and I was going to infuse it with life if it was the last thing I did. It became my responsibly, so no matter how stiff or uncomfortable anyone was, they weren't leaving my studio without what I considered a Peter Hurley headshot. No way, no how. This was my domain and my biggest weapon became the squinch.

My biggest fear was that other photographers would find out about the squinch. Well, over the past few years I've been teaching squinching up the wazoo in my Headshot Intensive, my Kelby Training class, Mastering The Headshot, as well as on my DVD, The Art Behind The Headshot. I've been drilling the point home the best I can that to me all my success is simply based on making each person squinch in front of my camera. No other way around it, this is a biggie and the fact that I'm here to tell you proves that for me. So enjoy the video and next time someone's in front of your camera why don't you try having them fire in a little squnch!

I'll be throwing out more of my signature stuff down the road, so be on the lookout. Scott and I are working on a book and I'll be speaking at Photoshop World in Atlanta. If you want to see my current teaching schedule then check out my coaching site for headshot photographers worldwide at

You can see more of Peter’s work at, and follow him on Twitter, Facebook, and Instagram.

The Art of Photography: Peter Read Miller’s 30 Years with Sports Illustrated
Join Mia McCormick and world-renowned sports photographer, Peter Read Miller, as they sit down to discuss Peter's vast experience covering events for Sports Illustrated. During the course of their conversation Peter shares the story of how he got started shooting sports, the importance of networking across the industry, why capturing the peak of action is critical to creating a successful image, how to stay on your game over the long haul, and so much more!

You can check out this and all of Peter’s classes right here, and leave a comment for your chance to win a free rental of this class!

Kelby Training Live
Want to spend a day with Scott Kelby, Joe McNallyMatt Kloskowski, or RC Concepcion? Check out these seminar tours!

Shoot Like A Pro with Scott Kelby
Nov 14 - New York, NY (today!)
Dec 3 - San Diego, CA
Dec 9 - Toronto, ON

One Light, Two Light with Joe McNally
Nov 18 - San Francisco, CA

Lightroom 5 Live with Matt Kloskowski
Nov 15 - Sacramento, CA
Dec 6 - Seattle, WA
Dec 13 - Jacksonville, FL

Photoshop for Photographers with RC Concepcion
Dec 11 - Calgary, AB

Don't forget, if you register for a seminar at least 14 days in advance, you can save $10 by using the code KTL10 at the checkout. And leave a comment for your chance to win a ticket to one of these events!

LensProToGo Gear Sale
LensProToGo just launched their seasonal used gear sale yesterday, but there are still a few items up for grabs! Check out what’s left right here and see what kind of deals you can get.

Last Week’s Winners
Bill Fortney’s Olympic Park Rental
– Holger

Kelby Training Live Ticket
– Dianne A

If you’re one of the lucky winners, we’ll be in touch soon. And if you’re at today’s NYC seminar, be sure to come up and say hi! Have a great Thursday everyone.

Life On Set
One of the most common topics that I get questions surrounding is what happens on set for a large production. All too often it is a personal aspect of a photographer and kept secret from those that are just making their way into the industry. While I do believe that learning through trial and error strengthens our overall knowledge base, I do not like the idea of keeping my approach secret when I could help others from experiencing some of the snags that I have hit along the way.

I figured I would take a few moments today to give some of the young photographers an idea of what to expect and what will be expected of them on a production and some ways to be successful.

I wish I could say that this one goes without saying, however it sadly does not. I hear all too often from assistants that I hire about other photographers that scream at crew and talent alike. It is the ultimate expression of insecurity and there is no place for it in the studio, or life for that matter. If you want to be a photographer that impresses a client on set treat your crew and talent with genuine respect.

At the end of the day there will be an image that gets published with the photographer’s name in the credit line or an award won by said photographer. However, the part that is often unseen is the sacrifice made by his or her crew to make that shot possible.

Know The Crew
This one carries off the idea of respect and takes it to a more personal level. Whenever I am shooting a production, I make it a point to know every person on set, from styling hair, makeup and wardrobe in the dressing rooms. The reason for this is two fold. As the photographer, you are the leader or coach of this team and their success is on your ability to give good instructions. In order to do this you need to learn each person’s limit or workload and stressors. Most importantly, let everyone know that they are doing a good job, build them up and the work you produce will show it.

The second reason for knowing everyone individually I discovered on a shoot this year. I was shooting a very large sports drink campaign and the day before my dog had suddenly passed away. To be honest, my driver picked me up and I cried the whole way to the studio. The idea of putting on a professional face as if nothing had happened was incredibly tough, but it is what the client deserved. While it was very hard for me to talk to people I knew well, I found that I was more comfortable talking with crew that I had not worked with prior. I entrusted my first assistant with overall management and spent much of the time talking with a grip that we hired just a week prior. Conversation was very topical, but it was the help I needed to keep my sanity on set and I all always be grateful for that.

Produce Your Own Shoot
This is not necessarily an option for every campaign, but if you have the opportunity to produce a shoot it can be one of the more valuable lessons you will find. By producing your own shoot, I mean handling everything from payroll to prop sourcing. As your jobs get bigger, you will not be able to do this without sanity walking out the door, but there is no reason that a small shoot (less than 20 people on set) can’t be handled by a photographer. In doing this you will learn where budget will make the most impact on the image and it will allow you to deliver more to your client for their budget than a photographer that takes a hands off approach.

Now with this said, when the bigger shoots come along and you have a 40 person crew, a producer (and usually assistant producer) is a must. I have worked with many and the ability of focus that their behind the scenes work affords me is invaluable. If you have quarter million dollar campaign on the line, there is no other way to handle the sheer undertaking of the numbers as a whole without a producer you trust.

Make The Set Comfortable
For many AD’s and CD’s, the photo shoot is the fun aspect of the campaign for them and therefore making it as close to a vacation as possible is very important. The creativity that is afforded by relaxing is immensely greater than that given under duress. As much as we want to believe that the shoot is only about the images produced, it is often just as much about showing the client and agency a good time. Whether this means hiring a sushi chef for the day to cook for them, or hiring a DJ to keep the environment relaxed, you must deliver. I often look at these expenditures as investments in future campaigns. At a beginning level these aspects may not make sense, but as one progresses to larger clients, more freedom to spend on making it fun will become available. It is all a matter of progression⦠In the beginning I had Xbox’s on set for the clients to kick back and play in the downtime of a lighting change, now I send the Xbox’s home with the client.

Some may say that this is “buying work” or at least pandering and I don’t disagree. However, at a certain level it is the norm for photographers or artist reps to send art buyers and other creatives lavish gifts such as nice wines, iPads, etc. Heck, I know some that send prospective clients on vacations. At the end of the day, the commercial photography business is just that, a business and letting your client know how important they are is just as important as lighting.

Be Grateful
Perhaps the most important part of this career is to stop, think about what you have, and be grateful. Being an advertising photographer, while sometimes stressful, is fun, is freedom⦠it is a privilege.

Thank you for reading,

You can see more of Blair’s work at, and follow him on Facebook, Twitter, LinkedIn, and Google+

Bill Fortney’s Olympic Park
Pull on your boots and join Bill Fortney, a world renowned nature and landscape photographer, as he takes you on a journey through Olympic National Park on the majestic coast of the Pacific Northwest in his latest class, Bill Fortney’s Olympic Park. From dramatic close-ups to breathtaking landscapes, and from sun-up to sun-down, Bill will walk you through each step of his process to get the shot, all the while discussing the gear he is using and sharing many valuable tips along the way.

Leave a comment for your chance to win a free rental of this class!

Kelby Training Live
Want to spend a day with Scott Kelby, Joe McNallyMatt Kloskowski, or RC Concepcion? Check out these seminar tours!

Shoot Like A Pro with Scott Kelby
Nov 14 - New York, NY
Dec 3 - San Diego, CA
Dec 9 - Toronto, ON

One Light, Two Light with Joe McNally
Nov 13 - Los Angeles, CA
Nov 18 - San Francisco, CA

Lightroom 5 Live with Matt Kloskowski
Nov 15 - Sacramento, CA
Dec 6 - Seattle, WA
Dec 13 - Jacksonville, FL

Photoshop for Photographers with RC Concepcion
Dec 11 - Calgary, AB

Don't forget, if you register for a seminar at least 14 days in advance, you can save $10 by using the code KTL10 at the checkout. And leave a comment for your chance to win a ticket to one of these events!

The Grid – Lighting Critiques with Joe McNally
If you missed yesterday’s episode of The Grid, it’s one that you’re going to want to watch! Special guest Joe McNally joined Scott for a show focused solely on critiquing photographers’ lighting. Hearing Joe’s insight from his 30+ years of experience was incredibly eye-opening and thought provoking. The episode will be up at sometime today, as well as on the Kelby YouTube channel.

Last Week’s Winners 1-Month Subscriptions
– Mark Soderlund
– Peter Nord

Kelby Training Live Ticket
– smilingmike

LensProToGo $150 Gift Card
– Lisa Crane

If you’re one of the lucky winners, we’ll be in touch soon. Have a great Thursday!

What Happened To RC?
RC Concepcion and crew went to Gary, Indiana to record our highly anticipated Exposing HDR course.

Sounds great, right? Well, it was going great until something went terribly wrong (we think), but we lost the feed and this is the only footage we have.

What happened to RC and crew? Are they in danger? Will we ever see them again? Will we have to get another instructor for our Exposing HDR course? We don't know, but you can check in at on TODAY at 4pm EDT to find out! You have no idea what will be unveiled!

Leave a comment for your chance to win a 1-month subscription.

Fall Photography Field Guide with Matt Kloskowski
The air is crisp and carries a faint scent of wood smoke, while seemingly ordinary towns and locations transform into a blazing array of color. Autumn is upon us! The color of the changing leaves combined with natural and man-made landscapes sets the stage for some of the most interesting, colorful, and impactful photos of the year. Join Matt Kloskowski in Fall Photography Field Guide as he goes through exactly what you need to capture those fall colors in all of their beauty. Whether it's in your home town or you are traveling someplace new, you only have a short window of time to make these photos. This new class will help you make it count!

Leave a comment for your chance to win a 1-month subscription.

Kelby Training Live
Want to spend a day with Scott Kelby, Joe McNallyMatt Kloskowski, or RC Concepcion? Check out these seminar tours!

Shoot Like A Pro with Scott Kelby
Nov 14 – New York, NY
Dec 3 – San Diego, CA
Dec 9 – Toronto, ON

One Light, Two Light with Joe McNally
Nov 13 – Los Angeles, CA
Nov 18 – San Francisco, CA

Lightroom 5 Live with Matt Kloskowski
Nov 6 - Fort Lauderdale, FL
Nov 15 – Sacramento, CA
Dec 6 – Seattle, WA
Dec 13 – Jacksonville, FL

Photoshop for Photographers with RC Concepcion
Nov 1 - Phoenix, AZ
Dec 11 – Calgary, AB

Don't forget, if you register for a seminar at least 14 days in advance, you can save $10 by using the code KTL10 at the checkout. And leave a comment for your chance to win a ticket to one of these events!

B&H Wilderness Photo Competition
Want to win an African safari for two? B&H Photo, Video and Pro-AudioWilderness Safaris and South African Airways are pleased to present to you the B&H Wilderness Photo Competition, the most exciting outdoor photography contest there is. There are lots of categories, as well as prizes including B&H Gift Cards and safaris to Botswana and Namibia valued at over $16,000! Head over to to see all the categories and enter for free between now and January 14, 2014.

The All New
LensProToGo just made renting the gear you need even easier than before with their completely redesigned website! The new website was created to take all of the hassle out of renting. Some of the new features include the ability to:

  • Change your rental period to see pricing change site wide.
  • Blaze through huge orders by quickly adding multiple items to your cart via the new search bar & product browse screens.
  • View gorgeous new product photos that show you exactly what you’ll be getting, in detail!
  • Take our expert staffs’ advice and check out our recommended accessory pics for every product.
  • Pay your way!  In addition to now accepting Discover, you can save multiple credit cards to your account for more options at checkout.
  • Make your accountant happy with our new detailed invoices that list complete payment histories.

Now, along with LensProToGo Labs - their savvy blog that gets updated daily with everything from industry news to reviews and tutorials - they are truly an amazing resource for any photographer or filmmaker.

To celebrate the new design they are offering everyone 10% off of ALL rentals from from now until November 30th. Use the code SAMEPEOPLENEWSITE when checking out.

Leave a comment for your chance to win a $150 gift card, good towards any rental from LensProToGo!

30% Off Tutorials from Serge Ramelli
This week only, our buddy and well-known French photographer and Photoshop instructor Serge Ramelli is offering 30% off his tutorial downloads! He has courses that include black and white photography, Lightroom training, Lightroom presets, Photoshop training and more! Head over to and fill up your cart, then enter the promo code HALLOWEEN at checkout to get your 30% off!

Aviation Photography Workshop
If you’re into aviation photography, you’re going to want to check out this workshop in Peachtree City, GA with 3G Aviation Media! Learn how to photograph in natural light, light subjects with small flash, shoot details, process your images, and more. The workshop is taking place November 15-17, and you can get more details and sign up right here.

Last Week’s Winners Subscription
– Micah

Kelby Training Live Ticket
– Alex Alegre

If you’re one of the lucky winners, we’ll be in touch soon! That’s it for today, have a great Halloween!

Photo © Charlotte Richardson

I appreciate the opportunity to share a few thoughts and experiences here as a guest blogger on Photoshop Insider. I’ve been blogging regularly for over six years over on my blog Photo Business News. Aside from the various photo business related news, one of the common themes I blog about is the business side of photography.


Simply put, if you love photography – and want to earn a living at it – if you don’t include in your daily routine an attention to the business-side, you won’t be earning a living at it for very long.  If your dream is to one day change careers to become a professional photographer and earn a living at it – then attending to the (sometimes) hum-drum nature of estimates, invoices, bills, and receipts is critical, alongside with the matter of pricing your work to survive and thrive. In the early years I stumbled along the way. I’d like to save you some of those lumps and struggles.

Often one of the hardest things to do is to have a client tell you what their budget is. Now, there are many occasions where they will – the key is to ask! Sometimes, a client will tell you they don’t know, but more often than not when they say that, they do.

There is a point in the conversation where you have had a good dialog with the client and you feel like you’ve made a connection with them. At this point, as you’re letting them know you’ll send along your paperwork, I typically will ask:

“Did you have a budget you are trying to work within for this?”

Can you guess the operative word in that sentence? Usually when I ask that question during a presentation people say “budget” or “within,” but as the process of elimination works it’s way through the sentence, someone says “trying.” If someone asks for a portrait to be shot, and they say $100, there’s no way we’ll be able to work within that. $2,500? Yes. $1,500, maybe, it depends.

Photographing Register of Copyrights Maria Pallante for her official portrait. Photo ©Lindsay King

Consider that you’re a really good architectural photographer. There are many levels of photography within this realm. There’s the “realtor with a camera” that snaps a shot of the front of a house at high noon when the light is at it’s worst. Then at the other end there’s the high end commercial real estate photographer who will do a site visit to scout the location, identify the best time of day to take the photo for the front elevation and an alternative outside view. They will work with the building manager to ensure all the blinds in the windows are at just the right height, and that all the lights are turned on. They will get permits to clear the street in front of the building of cars, and if it’s a winter shoot with deciduous trees in front of the building, they will ensure that the finished image has a tree with leaves on it through the magic of Photoshop.

Photo © John Harrington


When you run into a client who says they don’t have a budget, this is when you can start asking questions:

YOU:  “I’m trying to understand the level of production to bring into play for this shoot. Were you trying to keep this to under $5,000?”

CLIENT: “Oh my. I didn’t think it would cost that much. I figured it would be about $500.”

So here we have a huge disconnect. If this client came to you, the really good architectural photographer, because there were amazing shots of all sorts of buildings and high-end home exteriors, shot with just the right balance of dusk daylight and warm glowing windows, clearly you’re not the $500 level of photographer.

YOU: “You’ve had a chance to look over my website, and for what you’ve budgeted, I can stop by the next time I’m in that neighborhood and shoot a shot. Did you want me to worry about if the sun is on the front of the building, or did you just need a snapshot?”

CLIENT: “Oh, I really want the sun on the front of the building.”

YOU: “Ok, well, in order to know that, I’ll need to do a site visit. That takes extra time and effort.”

CLIENT: “Ok, well I might be able to afford $1,000.”

YOU: “I understand that you came into this project with a few ideas as to what it would cost to do the photograph. You’ve seen my work, and those images have been used to encourage builders to build, buyers to buy, and renters to rent, all sooner rather than later.  One extra month’s rent from one tenant is a significant amount of money, and this shoot, even at $5,000 is a small fraction of that.”

CLIENT: “I just don’t understand why it costs so much.”

YOU: “There are a number of factors. The first is time, but not just in the ‘by the hour’ type of thing. Not only do we need to do a site visit, but we need to coordinate with the building manager (or current tenant if it’s already occupied and/or a home). We then need to schedule our time to be there not just for the exteriors, but the interiors you want as well. We will then get a permit to block off the street so people can see the entire building and we don’t risk a large truck being parked outside all day. I’ll have an assistant working with me to get everything looking just right as well. Then, once we’re done with all the photography, we spend a fair amount of time on each image back in the studio making it look its best, adjusting color and light. We’ll also remove the parking meters and street signs that are visual distractions. We’ll add in green leaves to the tree as if it were Spring since this picture is being taken in the Fall after all the leaves are gone. If everything goes well, it’ll take a day. If not, it’ll take two. Then if we have weather delays when it’s overcast or rainy, we have to reschedule.”

And the explanation can go on and on. There are a myriad of variables here. Maybe you don’t need to pull a permit. Maybe it’s Spring already. In the above example, a $5,000 budget would be great for a large commercial building in a business district. It would take us time to do all of the things necessary. If we had to cut costs perhaps we’d shoot fewer interiors, or one exterior view. Maybe a permit isn’t needed, and maybe maybe maybe.

No, that's not a family member of mine and my second cousin. That's two hired stylists staging and styling a home for a photo shoot. Photo © John Harrington

Some portraits call for a level of production that includes wardrobe, separate hair and makeup stylists, and so on. Some on-location photo shoots call for a production trailer (usually a customized motor-home that goes for about $800 a day including driver) so models can change in the back while the client has a place to work and review images in the front. Catering comes into play when there are a number of players on the shoot and we are shooting across a mealtime – who wants everyone scattering to find the nearest Subway or Quiznos? At some point your shoot will call for a producer who will make all these arrangements for you, for a fee of about $750 a day.

A separate talent trailer and one for the client means that honest and candid conversations about the talent can be had discretely, and the client doesn't have to hear if the talent is displeased with something. Photo © John Harrington

Asking “what budget are you trying to work within?” isn’t a trick question – an honest answer from the prospective client gives you an understanding as to the level of production they expect. If it’s a portrait shoot where the client only has $750, then it’s a pretty lean shoot with a small seamless, a few small soft-boxes and one final image as a deliverable and a limited rights package. If the client wants to be able to review the images on-site and see some basic or conceptual retouching, then having a digital tech using our digital workstation with a 30″ external monitor along with a Wacom tablet adds in anywhere between $750 and $1500 to the shoot production. Adding in a makeup person for the day adds in $500, a separate stylist doubles that. Separate hair? Yep, another $500. So a lean shoot at $750 adds in $750 for a digital tech to $1,500, and then separate hair and makeup brings it to a $2,500 portrait. Yes, your take-home remains $750 plus whatever markup you have, but the production level more than tripled the bill.

There are countless things that take place before a shoot is brought to you via a phone call or email. More often than not, the intermediaries in the PR department of an organization have been tasked with finding a photographer for a project. Perhaps there’s an ad agency and a publicist for the VIP talent, and so on. The more intermediaries, the more pressure for it to work perfectly. Even on the smallest of CEO shoots, their PR person is on the hook for you doing a good job and not making them look bad. So, if they call you and say:

“Hi, this is Jane Doe with ACME Widgets, and we need a portrait of our CEO with the production line in the background. Are you available next Wednesday?”

Saying anything other than something like this doesn’t instill confidence:

“Sure we can do that. We do executive portraiture all the time. In fact, we just wrapped up a series of executive portraits last week. Wednesday works well for us too, but we’ll need to check in with the regular makeup person we use for portraits of this caliber, unless your CEO has someone they prefer to use whenever they do media appearances?”

This sentence said smoothly and with a confident tone, demonstrates a level of professionalism and attention to detail that will set you aside from others.  Then there are a myriad of questions to ask next that will further demonstrate your experience here:

“Does the CEO have a vision for the shoot? By that I mean – is s/he trying to demonstrate they are a hands-on CEO that is connected to the production line staff, or an authoritative CEO in full command and control? A few ways to illustrate these two styles would be without a suit jacket with sleeves rolled up, or with a buttoned up dark suit and crisp white shirt shot from a low angle to demonstrate power and authority.”

“Do we need to ensure that the production line is running next Wednesday at the time s/he’s available, or is it a 24/7 operation?”

“Is the CEO approaching this with enthusiasm or are they reluctant to do the portrait? Knowing this helps us understand how to approach them on the day of the shoot to get the most out of them.”

In one instance, we were called on to do a portrait of a duo in three separate locations, within 45 minutes. What seemed as a logistical nightmare actually was an opportunity for us to sell the client on our problem-solving abilities. We demonstrated how we would pre-set all the lights with a producer for each location. Our budget was north of $10,000, but we were the only photographer who demonstrated we could do it within their timeframe. Afterwards when we asked how they came to select us, that's how we learned that not only were we the most expensive, but also, the only one they were confident could accomplish the shoot within the available window of time.

One of the three setups for this duo we photographed. Photo © John Harrington

Realizing that you have to exude comfortable and cool confidence during the initial phase of the conversation, as well as enthusiasm for the shoot will start you off on the right foot. Your job is, yes, to make great images, but also, to make the person who hired you look great too. In doing so, not only will they be happy with the results, but they will be sure to book you in the future.

Last week we got a call on Tuesday for a shoot on Wednesday. The company – which I won’t name but you’d know their name instantly – was coming to Washington DC for a last minute photo shoot. It was a big deal for them – as their top communications person who handles all of it and reports directly to the President and CEO, was flying in. We had two hours to do two shoots. No lights, one assistant. No permits, no time. During the course of the back-and-forth we talked through our creative ideas and our solutions for the shoot, as well as the workarounds to the permitting issue. We had a signed contract by 5pm, and re-adjusted our schedule for an early morning start. At 7:30pm in DC, an email came in (they’re on West Coast time so it's still working hours for them) saying the client needed near real-time images to put out on social media. We responded by 8pm telling them “no problem” and added in our digital workstation to the mix to handle that. After the shoot, we sent an invite to the image gallery on PhotoShelter, and got back a really wonderful email:


I don't even know where to begin thanking you.

Everything could not have gone more smoothly for us because of you.

Our clients were THRILLED to have you along for the ride, and super impressed with your experience and credentials in D.C.

You made everything super seamless, and I can't thank you enough for your flexibility and go-with-the-flow attitude.

So glad we found you⦠thank you {referring colleague who was CC’d} !

All the best-

This is exactly the type of client we not only strive to have, but also, strive to deliver for. This is a client who recognizes the value of a premium service, and for whom price is not a deciding factor, but instead, only a detail. They CC’d their colleague within the firm who recommended me, which makes him look good and so he’ll be sure to refer me again. The firm, in turn, looked great to this company who was doing a very high profile project that the CEO wanted executed, so the in-house guy who reports to the CEO gets kudos from his boss too.

Warren Buffett said it best: "Price is what you pay. Value is what you get." He also said "Your premium brand had better be delivering something special, or it’s not going to get the business."

If you’d like to hear more from John, check out this interview he recently did with The Photo Brigade!

Washington DC Photographer John Harrington has covered the world of politics, traveled internationally, working as an editorial and commercial photographer. He has completed assignments for or his work has appeared in The Washington Post, USA Today, Time, Life, Newsweek, The National Geographic Society, and Rolling Stone. Author of  Best Business Practices for Photographers, John has lectured across the country to every major trade association. He currently serves as a National Director on the board of the American Society of Media Photographers, and concluded serving his second term as the President of the White House News Photographers Association in May of 2011.  A 2007 recipient of the United Nations’ Leadership Award in the field of photography, he also received the NPPA’s Morris Berman Citation in 2007 for special contributions advancing the interests of photojournalism, and in 2013 he was awarded the J. Winton Lemen Fellowship Award  for continuing outstanding service in the interests of press photography and for outstanding technical achievement in photography.