Posts By Brad Moore

10 Ways to Help Find Clients Find You

The hard truth about this industry is never really advertised. The gap between hobbyists and professional photographers has never been smaller. Technology has leveled the playing field when it comes to focus, exposure, timing, and even post processing. More capable photographers means more available imagery and thus lower prices. This presents a challenge when attempting to build and grow a successful photography business. It’s no longer enough to compete solely on skill, talent, or experience. It’s about showing your viewpoint, selling your ideas, creativity, and professionalism.

After 15 years of surviving then building a business in a post-newspaper apocalypse, why would I move from Florida to Denver? Change and growth. I needed a jump start, wanted to go back to what I felt was “home,” and start seeing differently. What I didn’t know was how to find an entirely new group of clients while satisfying my old base in a way that would allow me to keep working in both states.

The solution was a new brand, LOCK + LAND. In order to succeed I needed to elevate my business beyond a dude with a camera who likes to make colorful photos. After many long hours on the phone and many beers in person, I decided to go into business with my friend and fellow photographer, Peter Lockley. This would allow me to move beyond just waiting for the phone to ring, shooting something random, cashing a check, and repeating that cycle over and over. It would give me accountability, someone to collaborate with, and more opportunity to shoot.

I’ve had the luxury of a pretty amazing core group of clients in Florida – LEGOLAND Florida Resort, ESPN, Universal Orlando, The Player’s Tribune, New College of Florida, and Florida Department of Citrus, to name a few. They, along with a steady stream of weddings, kept me busy and fit my vision. In Colorado I had none, so how do you go about that mid career and find new ones? They’re not just going to start calling once I hit the Colorado border.

Peter and I took a very deliberate approach to growing LOCK + LAND. Here’s 10 ways we are approaching growing our business and finding new clients:

1. SOCIAL
Social media is the easiest way to get your work out there, but it’s also a challenge to reach the right people. Apps like Instagram and Facebook regulate the number of people who see each post and they charge if you want to “boost” it to a larger audience. We don’t pay to boost our content, but depending on your target audience, those channels could be very helpful. We treat it as a tool for keeping our clients informed of what we’re doing if they do pin, but it is a small piece of what we do to attract clientele.

2. EXCEL AT CUSTOMER SERVICE
This is a lost art. One of our big focuses is keeping our clients happy in Florida, to keep them using us as we grow. Most of them stuck with us during the transition, so we fly back there a lot and go out of our way to make sure they are happy. Superior customer service, having fun, and adding value to what we do with either digital library management or new services is a priority. Good customer service can lead to new opportunities. When someone in the position to hire you leaves one company, there’s a good chance they’ll end up in a position to hire you in their new job, and your client tree grows.

3. FOCUS ON BEING A GOOD PEER
Make friends in the industry. I would have never landed the LEGOLAND Florida Resort account without the recommendation of a friend for a simple press conference years ago. We also might have lost that account if not for a heads up to a change in marketing personnel from another colleague. Work is often thrown back and forth between photographers. Most importantly, do a great job if someone sends work your way. A personal recommendation is often more powerful than a great portfolio, so try to network as much as possible. We give back, we speak at colleges, we participate in photo gatherings, and we try to meet as many people as we can.

4. RESEARCH + TARGET MARKET
It’s easy to subscribe to a service that emails thousands of art buyers on your behalf. It’s a shotgun approach, and you hope that something sticks, but it rarely does. It’s not to say that you shouldn’t mass market, just be aware that there are limitations and a ton of competition in that space. We’ve talked to art directors who get hundreds of postcards every week. What we’ve done now is a create a local dream client list of 20 ad agencies and companies here in CO and find out who the actual person is that can hire and do a slow introduction to our work and familiarize themselves with our brand while at the same time learning theirs. We want to put all our marketing efforts and money into finding not a bunch of clients, but a few of the right ones. Clients who fit our vision, are fun to work for, and have potential for long-term viability. What we recommend is knowing your market, the work that is being produced there, and focusing your efforts on finding clients who are a good fit. Research every potential client. Who have they worked with in the past? Does your style fit their brand? Do they NEED your work? What can you offer?

5. MAILER, COLD CALLS, and EMAILS OH MY
While most of the time you never know if a card gets thrown out or put on a bulletin board, you still have to make sure people know you exist. You can’t expect one mailer to generate a large volume of work, but repeated impressions on a potential client have the opportunity to pay off in the long run. We try to put our work in front of a target client 4-6 times a year. Sometimes it will be a postcard, sometimes it will be a bigger promotional kit, sometimes it may just be a phone call but our goal is consistency.

6. BUILD AN AMAZING TEAM
We hire a lot of photographers, lighting assistants, digi-techs, and producers now and they’re people we could absolutely trust in any situation to knock it out of the park. In the end you’re only as good as the people you surround yourself with, and if they are giving it their all, you will be energized to do the same.

7. PERSONAL PROJECTS
This is key. I came to Colorado with a portfolio of beaches and palm trees. I didn’t have anything that spoke to the western audience. There’s no reason to sit on your butt when you could be out shooting pictures. Our desire is to do creative projects so we just started doing them. We identified some key potential clients and industries (beer, weed, travel, lifestyle, sports, etc…) and came up with some cool concepts to execute together. This not only gave us great content for the site, but helped us create a stronger working dynamic. It doesn’t matter who presses the shutter. It’s about the concept that drives the image.

8. SHARE WORK WITH THE RIGHT PEOPLE
One of the personal projects we did was within the craft brew industry. In Denver alone there are almost 300 breweries. It’s huge. You can’t really go a block without hitting a new place. What a better place to start meeting some people? We came up with a concept of deconstructing beer recipes and instead of just doing it on our own we recruited the help of 21 of the best up-and-coming breweries to pick one beer for each that used unique ingredients like ghost pepper, kale, and pineapple. In the end, we had a fun gallery showing in one of the breweries and gave all the brewers a print and copies of a time-lapse for each shot as a thank you for their help. We met some awesome people, made some future contacts for work we’re doing now, and built up a gallery to go to bigger breweries and market conceptual work.

9. BUILD A SITE THAT SAYS “I DO THIS”
If you don’t want to shoot sports, then why put that on your site? If you want to do lit portraiture for magazines, then get your friends to pose and build a portfolio. You may be the best damn French fry photographer out there, so load it up with all the golden goodness and own it. For us, we want to be hired for our creativity, and we rock the visuals to back up those ideas whether it’s photo, video, or social. Fill your site with your own unique vision.

10. HAVE FUN, KEEP DIGGING, and SEE WHAT OTHERS DON’T
Photography should make you want to get out of bed every day. Look to your friends and colleagues for inspiration. Read blogs like this and always keep learning about your craft. It’s an amazing thing to be able to do photography as a career. In order to keep doing that you have to dig, you have to create, and you have to shoot how the hell you want and how no one else can.

In the end, only you have your vision, so find the right people to help you share it with the world.

You can see more of Chip’s work at LOCK + LAND, and can follow LOCK + LAND on Instagram, Facebook, and Twitter.

Shooting Photos & Video with the Mavic Pro Drone with Scott Kelby and Terry White
The Mavic Pro may be small, but its packed with power. Learn how to shoot great photos and capture beautiful video with Scott Kelby and Terry White, as they take you through everything you need to know to get up and flying safely. In this class you’ll learn what you must do before you take your first flight, how to operate the drone safely, all the key settings to use for still and video capture, how to perform a pre-flight check, how to safely land, and a whole lot more. Don’t forget to download the accompanying PDF to take that pre-flight checklist with you everywhere you go.

In Case You Missed It
Get ready to fly with the DJI Phantom 3! Join Mia McCormick and John McQuiston as they show you what you need to know to get off the ground with the DJI Phantom 3. John and Mia start off by explaining the differences between the three versions of the DJI Phantom 3, before moving on to highlighting the main rules and regulations you need to understand before you take to the air. From there, you’ll get an in-depth look at the controller, a lesson on how to use the DJI Go app on your mobile device, how to prepare for and execute your first flight, helpful practice tips, and more. By the end of the class you will feel confident using the controller, the aircraft, and the app, and you’ll be ready to safely fly your DJI Phantom while capturing great photos and videos.

Dave Black working with Nikon SB-5000 Speedlights

Your Questions & My Answers
Hi and welcome to Scott’s blog … It is an honor to be asked to write a Guest blog for Scott … many thanks Scott for the opportunity.

I receive dozens of questions via my website’s Contact Dave page every month from passionate photographers eager to learn, and so this guest blog will be Your Questions and My Answers to a variety of my Instagram and Portfolio images.


“Alpine Shadow” … Nikon D3s, ISO1000, 1/500 at f/14, Nikon 24-70mm lens, SanDisk 32G Extreme Pro Flash Card

Q: Hi Mr. Black, Greetings from Switzerland. I really enjoy your Instagram pictures/mini photo lessons each day, and in particular the Alpine Shadow picture from Switzerland. Please can you elaborate with some backstory? Kind Regards. Francois – Zermatt, Switzerland

A: Hi Francois. So glad that you are enjoying my Instagram posts @daveblackphoto and the mini photo lessons that often accompany each IG picture.

As mentioned in the IG post, Rotenboden Station is a familiar location for those who are climbing, hiking or photographing the alpine sunrise at the Matterhorn in Switzerland.

The backstory is an exercise in patience. I had completed making my sunrise image of the Matterhorn from a location about 1 kilometer away from the Rotenboden Station and had just hiked back to the alpine railway station.

While I was waiting for the train to return and continue my journey up the mountains the sunlight and shadows on the station were beautiful and seemed to be begging for a human element to enter the scene.

The train arrived and I let it go without me. Then, after about 15 minutes, the shadow moved to reveal the cross and a minute later a fellow hiker (with backpack) approached the railway platform and his shadow was cast onto the station wall … thus offering a “different” image of the Matterhorn.

We often go out “looking” for a picture, but we must always be aware of the changing light and shadows around us… and be ready to capture a “moment” when it happens along.

Thanks for your question Francois, hope the backstory is helpful. Cheers. Dave


“Red Rythmic” … Nikon D5, ISO4000, 1/800 at f/13, Nikon 24-70mm lens at 45mm, WB 6250K, 4 NEW Nikon SB-5000 Speedlights with Radio Control, Manfrotto light stands, XQD Card

Q: Hi, Dave! I always check out your three portfolios on your website to see what’s new. Thanks for adding new pics each month. Can you explain where you placed your Speedlights for the Red Rythmic gymnastics image in your Creative Lighting Portfolio on your website? Thanks. Kevin – London.

A…Hi Kevin. Glad you are enjoying my portfolios. I really enjoy adding new images each month to the three collections!

I purposely underexposed the scene by -2.0 stops and then illuminated my subject with FLASH. I used 4 NEW Nikon SB-5000 Speedlights with Radio Control, all of which were in High Speed Sync mode.

The main SB-5000 had a Grid to help spotlight my athlete and was set to FULL power and placed high on a light stand 15 feet away.

I placed a second SB-5000 on a small rock about 20 feet out in front of the athlete and about one foot above the ground cover. This SB-5000 was set to 1/2 power and illuminated the foreground vegetation and the tail ends of the red ribbons.

Because of the uneven terrain, I had an assistant hand hold two SB-5000 Speedlights about 35 feet behind the subject. These two Speedlights, each set to FULL power illuminated some of the vegetation behind her, but not the forest background which I wanted to remain dark.

The subject was an Olympic athlete who was amazing to work with. She performed multiple leaps on the boulder despite it being a very cold, early morning shoot in the Yamanashi Forest of Northern Japan.

Thanks for a great question Kevin.  Cheers. Dave


“Winter Coyote” … Nikon D500, ISO2000, 1/1000 at f/8, Nikon 200-500mm G VR lens with Nikon TC 14E III 1.4x teleconverter, SanDisk 32G Extreme Pro SD Card.

Q: Dear Dave, I’m a longtime fan and very much looking forward to attending your classes at Photoshop World in Orlando this April. I just love the Winter Coyote picture in your Planet Portfolio. Can you tell me the how you captured this picture. Thank you. Debbie – Jacksonville, FL.

A: Hi Debbie. Gad you like the “Winter Coyote,” and please come up and say hello during Photoshop World Orlando. Your question fits into one of my favorite classes at PSW 2017: THINK Before You Press the Shutter a class teaching pre-visualization.

This image was made recently when I joined good friends Keith Ladzinski and Doug Ladzinski for a fun photo safari on a snowy January day in Rocky Mountain National Park.

We had been slowly cruising around the park photographing elk when Doug saw four coyotes way off in the distance, braving the winter storm on a small ridge about 150 yards from the road. With the snow storm and the long distance to the coyotes, I sensed this could be an opportunity for a very special picture.

Let me emphasis that, before I stepped out of the vehicle, I set the in-camera Set Picture Control menu of the D500 to standard and also reduced the contrast and saturation levels slightly. Then I increased the clarity level to help define the snow flakes and Coyote.

I kept my distance on purpose as I wanted to shoot through more volume of the falling snow. The camera-lens combination of the Nikon D500 cropped sensor and 200-500mm f/5.6 lens (at 500mm) with a 1.4x teleconverter gave me a visual lens length of about 1,050mm.

All these preparations: 1,050mm, Set Picture Control adjustments and keep my distance from the coyotes in order to shoot through as much falling snow as possible, but still see my subject clearly… were “pre-visualized” in my mind in just a few seconds. THEN I stepped out of the vehicle onto the snow.

I used manual exposure and chose to nearly overexpose the snow, but not quite. Once this single coyote moved away from the pack and ventured out onto the ridge with the falling snow and head-down posture, the “click” of the shutter was all that was left to do… Voila! “Winter Coyote.”

This process of creating the scene and technical scenario in my mind first is called “pre-visualization” and is what I believe to be the “key” missing component for many photographers trying to make the memorable pictures they want.

Hope this answer is helpful and I look forward to meeting you at PSW. -Dave


“High Riders” … Nikon D810, ISO1000, 1/2500 at f/10, Nikon 14-24mm lens, three Profoto B1 strobes in High Speed Sync mode with Profoto Tele-Zoom Reflectors and Clear Protection Plate, three C-Stands, and Articulating Boom Lift for me to shoot from, SanDisk 32G Extreme Pro Flash Card.

Q: Hi Dave, Your sports portfolio has an insane moto shot with one guy flying and another guy upside-down. Can you tell me what flash was used and how you pulled this picture off? Brandon – Louisiana.

A…Hi Brandon. Thanks for a great question, glad you like the shot.

This Freestyle Motocross image of Team FMX stars Travis Willis (white) and Ed Rossi (blue) was a commercial project that was quite an undertaking for myself and my #1 assistant, Julio Aguilar to accomplish.

I typically use my Nikon SB-5000 Speedlights with radio control for about 90% of my flash work as they are small-portable and have High Speed Sync. But occasionally I need a BIGGER blast of FLASH from a long distance to override the bright ambient sunshine and illuminate my athletes against the underexposed background or sky… so I bring in the Profoto B1 Air strobes.

As mentioned in the image caption above, I used three Profoto B1 Air strobes in High Speed Sync. Each is equipped with Profoto Tele-Zoom Reflector and Clear Glass Protection Plate (instead of the factory frosted plate).

These two modifications that I’ve incorporated with my B1 strobe system have helped make the factory 500 watt second power of a B1 illuminate my subjects more like a 1200 watt second power pack. That’s a HUGE increase in illumination simply by using the Tele-Zoom Reflector and clear protection plate on each B1 unit.

To get up where my athletes perform, I used an Articulating Boom Lift (king size Cherry Picker) to have maximum stability in the bucket, and to access my athletes at about 70 feet in the air for this particular shot.

Travis and Ed made a dozen “tandem” jumps, but this jump in particular was performed with them only a few feet apart and nearly on top of each other at the landing area… CRAZY and AMAZING skill. The icing on the cake was the full moon rising in the upper right corner in front of the lead rider’s boot.

A really awesome photo shoot and a blast to pull off … Thanks for asking.

Adios, Dave


“NFL Game Day” … Nikon D800, ISO4000, 1/1250 at f/5.6, Nikon 600mm f/4 G VR Zoom lens, WB 6250K, SanDisk 32G Extreme Pro Flash Card.

Q: Hello Dave, I am a student looking for a direction to take my life. I was very interested in photography which I really enjoyed and achieved high grades. As an enthusiastic sportsman, I was considering merging the two and becoming a sports photographer. Would you recommend this, and do you have any advice? Gavin – Houston

A: Hi Gavin. The road to being a professional SPORTS photographer who makes their entire living from their craft is not usually achieved overnight, but is an extremely rewarding occupation to pursue.

If you are currently enrolled at a university, or if you have graduated, consider assisting a local sports photographer as a way to learn the profession. Some assistants make good money assisting someone until they are ready to set out on their own business.

Just so you know, the notion that all a SPORTS photographer does is go to a game for three hours, take pictures, and collect a check is far from accurate. “Speedy” computer skills and business savvy are just as important as photographic skills if one is to “make it” in today’s sports photography market place.

The SPORTS photography industry is highly competitive, and your degree of passion should demand a great deal from you, but if you persevere and make GREAT pictures you can have a fine living.

So, do I recommend having a career as a SPORTS photographer….YES, absolutely! It’s the greatest job on the planet. And when you “make it,” you are truly on top of the world each and every time you arrive at the event.

Best to you Gavin. -Dave


“Fire Fighter” … Nikon D500, ISO200 at 30 seconds, Nikon 24-70mm lens, WB 10,000K, Manfrotto Tripod and 410 Geared Head … Lightpainting, SanDisk Extreme pro 32G Card.

Q: Hey Dave, love your light painting portraits. I read your instructional blog about the “soft focus” technique for your portraits but I don’t get it??? Can you explain it. Thanks, Jeromy – Chicago

A: Hi Jeromy. Whether you use Photoshop’s Gaussian Blur tool or my “soft focus” technique with camera and lens, the purpose is to create selected areas in the scene that are soft looking so as to draw attention more directly to the subject’s face which is in focus.

This light painting portrait of a female fire fighter makes use of a manual exposure time of 30 seconds. I used seven seconds to light paint her face, helmet, ax and torso using a small white LED penlight.

For the next 12 seconds of exposure time, I turned off my flashlight, walked to the camera, and manually unfocused the lens to infinity, then walked back to the subject to resume light painting using a small red LED penlight to “soft focus” areas of her arms and helmet.

Finally, with about 11 seconds remaining in the 30 seconds exposure and with my lens still unfocused to infinity, I light painted the backdrop with red LED flashlight while the backdrop was being “fluttered” by an assistant, thus creating a “soft focus” & motion blur… I’m always experimenting.

Hope this answer explains “soft focus.”

Adios. Dave


THANKS again to Scott for having me write this guest blog. Looking forward to seeing many of you at Photoshop World 2017 in Orlando, Florida: April 19-22. See you there! -Dave

You can see more of Dave’s work at DaveBlackPhotography.com, where he shares his monthly Workshop At The Ranch posts like this one. You can also follow him on Instagram and Twitter.

Beginners Start Here with Scott Kelby
Imagine going out shooting with Scott Kelby at your side giving you tips, advice, and strategies for using your camera the same way he does, and that’s what this class is all about. Scott’s goal is to help beginners go beyond auto mode, be in control, and make great photographs. It’s as simple as that, and it doesn’t even matter what brand of camera you are using, as these lessons apply to all cameras. Scott shares his favorite camera settings, tips for getting tack-sharp photos, favorite lenses for different situations, and so much more. Once you start putting these concepts into practice you’re going to see an immediate improvement in your work.

In Case You Missed It
Join landscape and wildlife photographer Moose Peterson as he gets his first chance to shoot the beauty of Monument Valley. Moose talks about his preferences for camera gear and how he composes landscape shots. He shares some tips for predicting what the weather is going to do, and goes through the entire workflow for creating a time lapse video to share the experience of a changing landscape. Follow Moose as he photographs one of the most impressive landscapes in America.

Inspiration for the Sport Grit Look
I’ve had the incredible opportunity of attending every Photoshop World (except for one) since Photoshop World started in 1999. The amount of knowledge taught in a short time is worth more than countless hours trying to learn on your own. Imagine hanging out and collaborating with instructors who have written books on the different styles you want to learn or fellow students that are top in their field. Collaboration and an image Scott took of me inspired me to create the Sport Grit look that I will teach for the first time at Photoshop World this year.

The Sport Grit Look’s Secret Ingredient
The secret ingredient to produce the sports-grit look is to light the subject with harsh light. Harsh light produces strong shadows for a powerful photo. It sculptures the subject in such a way that when applying the Lightroom preset, the grit look is achieved.

Style The Shoot To Change The Mood
I’ve been happy with the look for the past few years, but I felt it was time for a slight change. I wanted to create a different mood. I collaborated with my buddy, Photoshop World and KelbyOne instructor Mike Kubeisy. We came up with adding tape to the athlete’s fingers and wrist to symbolize injuries. Applying eye black added to the tough look.

At this point, the athlete looked like he was preparing for a game. Although it looked good, it didn’t capture the mood I was after. I wanted to show what the athlete would look like after the game. By adding dirt to his face and arms and making sure the white tape got dirty, the style was completed and the mood was set. He looked like he just walked off the field, working through his pain and injuries to capture a hard-fought victory.

Pulling emotion out of the athlete
Athletes are known for being intense when they play. To capture this emotion, have the athlete relive one of their favorite memories from a game, or create a do-or-die game winning moment. The goal is make them look intense. This short video demonstrates how I pull emotions out of an athlete during a shoot.

Finishing the look in Lightroom
To finish the look, use Lightroom to desaturate the colors, over sharpen the image, and change the color temperature along with the tint. To make life easier, you can download my Lightroom Sports Grit preset or you can learn how I created it an article I wrote Shooting Awesome Sports Portraits.

Now you have the lighting foundation and the Lightroom preset for how I create my Sport Grit Look. The final step is to practice and tweak the workflow to make it your own.

You can see more of Vanelli’s work at Vanelli.tips/VanelliAuthor, follow him on Instagram, Twitter, and Facebook, and see him live at Photoshop World April 20-22!

Camera Essentials: Canon 1DX Mark II
If a Canon 1DX Mark II is in your future or already in your camera bag, then this class is for you! Join Larry Becker as he gets you up to speed on everything you need to know to get started on the right foot with Canon’s flagship camera. This is a pro-level camera, so Larry skips the basics and focuses on getting you oriented to the layout of the camera, teaching you the quickest ways to do the tasks you’ll want to do, and how to customize the camera to suit your workflow. By the end of the class you’ll have a solid grasp of what this camera is capable of doing, and where to go to make any needed changes.

In Case You Missed It
Get the most out of your Nikon D5! Join Larry Becker as he walks you through the important things you’ll want to know about your new D5. This is not a class for seeing every menu option and obscure function, but instead Larry focuses on the things you need to know to get the camera to do what you want it to do, as if a good friend was showing you how. You’ll learn the basics of navigating the camera, how to access various shooting modes, where to find key settings, and along the way Larry shares a wealth of tips, recommendations, and insights to help you feel like a master user by the end of the class.

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