Category Archives Guest Blogger


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.

Why?

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.

DETERMINING A CLIENT’S BUDGET
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.

ESTABLISHING CONFIDENCE TO WIN THE ASSIGNMENT
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:

John-

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.


Fishing from a kayak in the Florida Keys with a GoPro camera

There is nothing like securing a contract to photograph an event like the one I was blessed with in June.

Nik Wallenda was going to walk a high wire across the Grand Canyon, untethered, and the Discovery Channel was going to broadcast it to more than 200 countries with an estimated viewership of 200 million people.


Nik Wallenda walks a high wire across the Grand Canyon June 24, 2013

I had been hired to document the event, Nik’s family and friends who were there, and add to the already-vast Wallenda family legacy, archives and heirlooms. I would also feed to Getty Images.


Nik Wallenda gestures into the abyss on the first day of on-site training.


Nik sits on the edge of the Canyon at sunrise on the first day of on-site training.

All in all, it would be a demanding, pressure-filled shoot, four-day shoot, yet with a built-in cushion: Great visuals guaranteed. How could it get better?

By taking my near-80 year old father along.


Dad made friends easily. He laughs with Jack Hanna’s wife, Suzi, at the Grand Canyon within five minutes of meeting her

Nik Wallenda is a nice, kind, sweet, friendly, talented, charming, devoted family man. I didn’t steal that line from any press release. I learned it on my own. This year he let me photograph him nearly a dozen different times.


Nik Wallenda walks a high wire over downtown Sarasota on January 29, 2013


Nik Wallenda poses holding a piece of the cable he used to walk a high wire over Niagara Falls February 15,2013

His family is always there. Most times it’s the physcial presence of his wife and three children, his mother and father and many other family and close friends who rig his cables, handle his media calls, guarantee his safety and hundreds of other details that go along with being part of the most recognized high-wire family in history.

Always present is the shadow of his great-grandfather, Karl Wallenda, and others who carved out history in the 200 years the Wallendas have been performing.


Nik’s wife Erendira (Left) and his sister, Lijana, share a hug after the Grand Canyon walk.

I really like breaking rules. The big one on this trip, if Nik would allow it, would be to bring my father along. It’s not professional to have family and friends along on shoots. We all know that.


Nik Wallenda tugs on the wire that he’ll use to walk across the Grand Canyon during a training session two days before the actual walk.

When I thought about Nik’s devotion to family and legacy, I couldn’t help but think how great it would be to have my 78-year-old father, Marvin, along with me. He was a truck driver for most of his adult life. He’d never seen a TV stage in real life, much less one that crossed the Grand Canyon. But, he is in good shape, he is warm, smart, funny, charming and very sweet. He is devoted to his family.

He is much like Nik, in other words. I had to ask.

“Nik, can I bring my dad along?” I wrote in an email two weeks before our journey was to begin. “I’d be honored to have your dad along,” Nik wrote back.


With Nik in the backround, my father Marvin and I pose for a photograph. Photo by Thomas Bender

So, for three of those days, my father was at my side as we followed Nik Wallenda and his family and crew to press conferences, training sessions, meet and greets with fans, rehearsals, meals, horseshoes and hijinks, and finally to Sunday, the day Nik was going to create history and put his life on the line in front of 200 million people on live television.


Nik Wallenda walks a high wire across the Grand Canyon

My father became a minor celebrity himself along the way. His hometown newspaper, The Altoona Mirror, wrote a story. Dad said he couldn’t go anywhere without people asking him about his trip with Nik Wallenda to the Grand Canyon.

He developed a true friendship with Jack and Suzi Hanna who invited dad to visit them at the Columbus Zoo and Aquarium. (We went this month)


I never asked Nik to pose with my father until the after-party. Dad was tired. We had been working together for about 12 hours by the time this photo was taken.

I think a lot of people were moved about seeing my father and I hanging out together at the biggest event in the world.

Two other photojournalists there told me they had lost their own fathers recently. One teared up, I believe from the wish that he could have been in my sooty shoes, with his own father. I was reminded how blessed to have mine there.

The successes were huge. Nik finished the record-breaking walk despite immense heat, windy updrafts from the Canyon floor, slippery desert dust on the wire and a thousand other challenges he and his team faced and conquered.


Nik blows a kiss to his wife and children as he nears the end of his historic high wire walk.

My dad and I had a great time, bonding and making memories and photographs that will be around long after we’re all are gone. One thing I didn’t plan on, but was incredibly satisfied to find out: Not only did I add to and enhance the Wallenda family heirlooms and legacies, but those of my own family as well.


My father and I at the Grand Canyon. Photo by Douglas Hay


iPhone close-up of Nik’s autograph on the 16×20″ I printed for my father.


iPhone shot of note we received from Jack and Suzi Hanna. I sent them a 20×30″ print of their choice. He said he wanted it signed. I told him, “you know Nik, you ask him to sign it.” He said, “I want you to sign it.”


Show hosts Willie Geist and Natalie Morales pose with Nik at sunrise on the morning after the walk.


Nik back on the wire at sunrise on the morning after the walk.

Thank you to Scott Kelby, David Hobby and Joe McNally for showing me the light.

Thank you to Nik Wallenda for saying yes to just about anything I ever asked him and for always giving me something interesting to shoot.

Thank you to my Jack and Suzi Hanna for treating my father like he’s the most important man in the world.

Thank you to my father, Marvin, for always having a sense of adventure and my mother for things I could never put into words.

You can see more of Tim’s work at TimBoylesPhotography.com, and follow him on Twitter and Facebook.

Honesty, integrity, originality, and good old fashioned hard work. I like to think I possess all these characteristics, but there’s a good chance I don’t, at least not all of the time. It’s a difficult balance to maintain, a quest for the righteous at times; indeed, even the best of us can fall from grace. Jumping on the failures of others is so easy for many of us to do. It’s easier than producing your own content. And it’s not unique to photographers or our community, but by the nature of our work, out there for everyone to see, it’s a lot easier to be exposed to the potential negativity.

More and more sites are scraping every single set of images they can possibly find to showcase, blog about, and expose; like Flickr, 500px, Fstoppers, Petapixel, Tumblr, Buzzfeed, and Reddit.  This is wonderful stuff; absolutely anyone can have their work viewed by millions of people around the world. There’s pressure in this, for some, to perform. To produce content that’s as good as the last “big thing,” to get noticed like your friend did last week. “He has a million views on his photos, mine are better, why can’t I?” I think we could even mistake this for being competitive… but is it? Does it even matter? Is it a big distraction?

Let me be honest. I’ve struggled. I’m still trying to figure out my work, to find my place, to make a living. I’ve been incredibly fortunate this early in my career to have more positive than negative feedback, and a great amount of support from those around me to keep doing what I’m doing. I work hard when I’m on the job and I try to do right by my clients. I show and share my work actively in the hopes of getting noticed, of having someone see it and maybe getting that next big job from that someone. If nothing else, the big group-hug that is Flickr can make me feel good about myself for a day. Is that how it works?

Maybe it has for a few lucky folks, but in my case, I’m not working nearly hard enough. Doing a good job for my clients isn’t enough anymore, it’s the bare minimum of what’s expected of me as a professional photographer. I need to work hard for my next client; I need to work to GET them. And they’re not going to come from, being explored, or the editors' picks On a website. I need to find them myself, and I need to show them my work, and I need them to know that I am the right person for the job. That’s really putting myself out there, and I’m terrified of taking that necessary next step. I’m scared because it’s hard, and I’m scared because I might fail.

Integrity comes in many forms but to me it is an extension of an outward honesty. I give credit when and where I can, I pay my assistants faster than I get paid myself, I share openly and freely knowledge that I have and methods that I’ve used, trying to help mentor the next group of photographers coming up behind me. Secrets, in this industry, seem to be a way of trying to protect yourself, to make sure nobody can copy your work or business model like you’ve done something particularly unique or special. You’ll notice, as savvy readers, that the most unique and special photographers are absolutely comfortable sharing their methods because really, many of us couldn’t compete if we tried.

I’ve also copied. I copy David Hobby’s lighting setups. I’ve copied Scott Kelby’s Lightroom workflow. I’ve copied Joe McNally’s… sarcasm and love for naps. Little ideas, little methods: these guys have all shared their work and knowledge for years and I’ve copied them until I got it right. Then I went and I took their methods until they became my own. Now, I couldn’t work without the things I took from them if I tried. And still – STILL – I’m not as good as them. How come? Maybe I’m not good enough. That’s a pretty terrible outlook, though. How about the possibility that I just need to work harder?

There’s no escaping the time you have to put into this industry. There’s work to be done. People need their pictures taken. They need them taken well, or poorly if that’s their taste. On a tight budget or one that can afford a guy like Jeremy Cowart (I love his hair). I’ve had my photos seen by hundreds of thousands of people. My work is published, it’s been stolen, it’s been paid for. My mom thinks I’m great, and my wife thinks I take good photos of the kids though, oddly, never of her. I’ve been told all sorts of equally wonderful and horrible things about my work, and even about myself. I’m not a bad guy, I just pretend to be one on Twitter.

Is my work even good? Does "good" even matter? There are better photographers than me, by a long shot, who aren’t working and haven’t had the opportunities I have. There are also some photographers we all wonder how they got to be where they are. Are they even good? What actually matters in professional photography? Who gets to judge my work and, by some weird extension of my mind, me and my self-worth? Who gets to tell you your work is worth doing?

I do.

My clients do.

And both can get it wrong. So, let’s just get back to work. Work hard, be honest, have some integrity, and do the best we can; the rest is just a distraction.

If you’re up to the challenge, you can follow my over-share of a Twitter feed, check out my blog for the occasional tutorial and read my lens reviews on Canonrumors.com.

Lessons from the Help Desk

Greetings! I can't tell you how excited I am to have a chance to give a little something back to you all. Many thanks to Scott and Brad for the opportunity. You see I have been answering Help Desk questions for NAPP members since 2005. I started out assisting Peter Bauer with Photoshop questions, but once Lightroom 1.0 hit the scene I was tasked with handling all of the Lightroom questions sent to the Help Desk from that point forward. It was truly one of the greatest gifts I've ever been given.

Sure, it was a job, but that is not what I mean by the gift I was given. The gift was the education I received as a result of the countless interactions I have had with so many NAPP members over the years. I did indeed learn a lot about Lightroom, and that alone has lead to a number of really great opportunities, but even more important was that I learned a whole lot about how to interact with people; people in a hurry, people at their most vulnerable, and people at their most-frustrated-end-of-their-rope-worst. Believe me when I tell you this is a skill that has served me well in my 16 years of marriage. :-D

It has also served me well in other Help Desk roles I've taken on, such as answering customer support tickets for a new stock photography co-op (Stocksy United) I am a member of, and even helping people in the field with The Digital Photo Workshops. Oh, and I answer all of the tech support questions for Kelby Training too.

So, when Brad asked me if I would be interested in writing a guest post for Scott's blog I thought I could take the opportunity to share some of the most important lessons I've learned in my many roles as a helper in the hopes that perhaps it may inspire you to become a helper in you own way. I've also included a few photos taken around my backyard just to share some of what I do beyond answering questions.

1. You'll become a better listener.
When you truly step into the role of helping someone the first and most important thing you can do to actually help him or her is to understand what he or she is really saying. I get a fair number of questions that are full of a lot of information that is really not relevant to the core reason this person is reaching out to me. I see it as my job to step back, really read (most of my interactions with folks are via email) what they are saying then focus in on the key issue. Sometimes this requires me to ask a few questions to ferret out the right information, but the rookie mistake is to reply too quickly to what we think someone is saying, and then spiral off into a rabbit hole that leaves both parties feeling frustrated.


Newly hatched bluebird chicks.

2. There's no shame in knowing what you don't know.
We pride ourselves on being experts and in being able to solve any problem that comes our way, but the reality is that there are a lot of things I just don't know. I used to be afraid of those three words (I don't know), but now I embrace them. I feel it is far better to let the person asking the question know that I honestly don't know the answer, than to try and bamboozle them with bull-oney to cover up the fact that I don't. I just come clean, and then we can work on trying to solve the problem together, and hopefully at the end they'll have a solution and I'll have some new information for the next person that comes up against the same issue. The person asking the question ends up actually helping himself (or herself), helping me, and then passing it along to others. It just doesn't get any better than that.


Me tending to my bees.

3. There's no shame in asking for help.
My wife will get a big kick out of me saying this as I am far better at giving help than asking for it, but I am working on it! I have had the privilege of helping people from all walks of life, all types of professional backgrounds, and a wide range of ages, and what they all had in common was they had a question that I could answer and the self-confidence to ask it. The moment I gave them that one thing they didn't have before they were free to move on, to stop spinning their wheels, and to get stuff done. Why waste your time digging yourself into a deeper rut when there are so many ways of asking for help these days? I know, I know, I'll try it myself one day. :-)


A beech leaf floating on the pond.

4. Always remember there's a real genuine human being on the other end of that question.
Except when I am on a workshop or standing in at the Help Desk Live booth at Photoshop World, most of my help interactions are done via email. As we all know email and text communication can easily become very impersonal. I'm lucky in that I have gotten to meet a great number of people by working at Photoshop World that previously were only emails stacked up in my inbox (see photo below).  However, I will never meet the vast majority of the people I help, but I strive to always conjure up a picture of them in my mind's eye when replying to their emails as a way to remind myself that they are not just another problem to deal with, but rather a person reaching out for a little guidance. I feel that this comes through in my response, as I have never been accused of talking down to someone or of being disrespectful. I also try to remember this in all those small frustrating interactions we have with each other while standing in line at the grocery check out, waiting at the doctor's office, and driving on the highway.


My good friend Ed Law at Photoshop World 2013.

5. Answer the question, but also try to increase their understanding.
When someone asks a question there is almost always an opportunity to give them something more to help increase their overall understanding, and quite possibly head off the next question before they even knew they were going to ask it. If job one is understanding the question, and job two is answering the question, then job three in my book is providing them a link, resource, tip, or tidbit that gives them something more to chew on. If someone asks what is the keyboard shortcut to show/hide the Lightroom adjustment brush mask I tell them (press O), then I provide a link to all of the keyboard shortcuts too. It would be quicker in the short-term to just answer the question and hit Send, but by taking a few seconds longer I can give them a resource that gives them more and saves them from having to send in five more questions. That's a win for both of us.


The view from the side of my house one snowy morning.

Beyond those five things I can tell you that working on the Help Desk is one of the most rewarding jobs I've ever had, that it must be good for my karma, and it has allowed me to learn Lightroom inside out and upside down. For all of that, and so much more, I am grateful to you all for the opportunity to serve. Hope to see you at Photoshop World!

You can see more from Rob at Lightroomers.com and follow him on Twitter and Facebook. He is a photographer, trainer, and author. Aside from also being a NAPP and Kelby Training Help Desk Specialist, and instructor for the Perfect Picture School of Photography and the host of Peachpit's Lightroom Resource Center. He is a founding member of Stocksy United (a stock photography co-op). Rob writes the "Under the Loupe" column for Photoshop User Magazine, is a regular contributor to Lightroom magazine, and is the author of many photography related books.

I'm writing this post in the wake of the devastating flood that swept through my town of Boulder, Colorado just over two weeks ago.  Like so many others, my family endured the hardship of fighting rising floodwaters only to see them consume 50% of our home.  As if this weren’t challenging enough, the City of Boulder drainage system backed up, filling our basement and part of our first level with sewage.  We spent nearly two weeks without the ability to shower, wash clothes, clean dishes, or cook food.  Although my family was shaken by the impact of the flood, I can already feel hope beginning to wash over me.  I attribute this to the love and support of our family and friends and to the resiliency of the creative human spirit.  The flood is giving me a fresh perspective and helping to crystallize several important ideas that I'd like to share today (the images associated with these ideas are merely intended to entertain and inspire).

In this fast-paced, often cynical world, each and every one of us can benefit from sincere encouragement and inspiration.  Here is an invitation: Consider being the person who provides these things both to yourself and to others.  The result will be a more harmonious world where we feel supported each time we share our work with others or take creative risks.

Creativity is not a gift for a chosen few.  It is your birthright!  Proof of this lies within the heart and mind of every child.  Just yesterday, I marveled as my daughter discovered (for more than 30 minutes) that plastic bags make incredible parachutes for dolls.  Sadly, it is only through repeated negative conditioning that we become convinced that we're not creative.  In the words of best-selling author Richard Bach, "Argue for your limitations, and sure enough they're yours."  When you don't feel innovative, consider seeking out an image that deeply inspires you and let it serve as a stepping stone to your own creation.  Viewing (and even imitating) work that you love is a great way to get your creative juices flowing.  Often, when I set out to mimic someone else's work, I wind up creating something that becomes uniquely my own.

Creativity is like a meandering river with numerous bends.  I've been creating images for 20 years and I still encounter challenges in every one.  Only though experimentation and so-called "failures" do I arrive at gratifying results.  Mistakes and “failures” are our best learning opportunities.

In the initial stages of each creative endeavor, do whatever you can to gently quiet your inner critic (which masquerades as fear-based thoughts).  We all have one and it doesn't nourish us.  The more you honor and appreciate yourself and all the uniqueness you bring to this world, the more creative and productive you'll become.  Remember that the best way to evaluate your own pictures is by how much each one makes your heart sing.

Those whose work we admire most are the ones who have transformed curiosity to passion, and passion to perspiration.  In other words, these folks have worked extremely hard at refining their craft.  While some may pick up basic mechanical skills faster than others, it is only through passion and persistence that these (or any) people become truly accomplished.

Be wary of folks who place rules around art.  Rules are limiting and have the power to eclipse the vibrant human spirit.  When you create for the pure joy of the process, you open yourself up to producing art that is a genuine expression of you.  Personally, I enjoy making images that express more how I felt about a place or event than what I actually saw.  My intention is to convey emotion.  Whether you prefer to depict the world realistically or interpretively isn't what's important; what matters is that you are true to your personal vision.

Make a habit of seeing photography as a process and allow yourself to unabashedly employ whatever tools you wish to convey your ideas.  When it comes to expressing myself, I am delighted to use any and all creative resources available, including a vast array of lenses, lights, and software.  My creative process is split between the camera and the computer.  I do everything I can to get the photo right in camera so I can use Photoshop to sculpt it into something that resonates with me.  Keep in mind that how you create art is far less important than what you create.

Consider being transparent about the creative process with your audience.  I get so excited about sharing my images with others that I can't help but explain all of the thrilling techniques I used to create them.  Don't be afraid to let the world know how much you enjoyed every stage of the creative process.

Seek out teachers that fuel the embers of your creative spirit and learn as much as you can from them.  As you feed your passion, you'll expand the scope of possibilities and the toolkit necessary to take advantage of them.  When you're feeling stuck, learning is also a marvelous way to light your way back to creativity.

The world is filled with compassionate souls who understand the healing power of creativity and beauty.  Although we often don't hear about these people in the popular media, I believe there are millions of them all around us.  I encourage each of you to let your voices be heard.

I'd like to conclude by sharing three quotes that have lightened my heart during this particularly difficult time.  I sincerely hope that they add a little spring to your step as well.

“Don’t ask what the world needs.  Ask what makes you come alive, and go do it.  Because what the world needs is people who have come alive.”
-  Howard Thurman

"The people who make a difference in your life are not the ones with the most credentials, the most money…or the most awards.  They simply are the ones who care the most."
-  Charles Schulz

"In large measure becoming an artist consists of learning to accept yourself, which makes your work personal, and in following your own voice, which makes your work distinctive."
- David Bayles and Ted Orland

See your creative expression as your gift to the world.  Give yourself permission to be creative.  Make time for your art.  Allow creative momentum to build inside of you.  Create art that resonates with your personal vision of the world.  And most importantly, have fun with the process!  Thank you.

Mark S. Johnson is an Adobe Photoshop luminary, a photographer, an author, and one of the most passionate instructors you will ever encounter.  Through the Rocky Mountain School of Photography, The Radiant Vista, and Boulder Digital Arts, he has lectured in front of and worked side-by-side with countless individuals, including Adobe's Chief Executive Officers, Jane Goodall, the U.S. Ambassador to Finland, and Academy Award winning director, Louie Psihoyos.  Mark’s tutorials appear on the National Association of Photoshop Professionals (NAPP) and Planet Photoshop websites, and his imagery and articles have been featured in Photo Techniques, Nature's Best, and After Capture magazines.  He is a contributor to Dewitt Jones’ heartwarming Healing Images campaign and a Trey Ratcliff Flatbooks author.  Watch hundreds of Mark’s inspiring and entertaining Photoshop tutorials at MSJPhotography.com.

[Note from Brad: This post contains a little PG-13 language/imagery.]

I would first like to thank Scott and Brad for inviting me to be today’s guest blogger⦠it’s quite an honor and hopefully I won’t make them regret asking me. Like most of us here, I am an image guy and words are my enemy. So, I will do my best to finish a thought, not use run-on sentences, and in the end, shed some light on what I do as a digital artist.

For those of you who don’t know me or my work, let me give you the elevator ride explanation of who I am. I have been in the business of making images for high profile clients, ad agencies, and celebrities for over 15 years. After graduating from the University of Michigan, I cut my teeth in a small retouching studio and worked my way up through studio/agency life until venturing out on my own. I consider myself a digital artist, who’s specialty is creating hybrid images. This is done by combining all of my skill sets into one image, CGI, illustration and photography.

One of the most rewarding aspects of what I do is collaborating with some the best photographers in the world. Working with another artist on a project can be very rewarding, especially when you can combine your talents and create something better than you could have alone. I have had the luxury of working with some great photographers and I would like to shed some light on how the whole process works. Keep in mind that there is no one formula for working together, as we all know, people are very different and so is my approach when working with photographers. The best way to explore this topic is to use real world examples and talk a little bit about approach, collaboration and promotion.


Photos by Tim Tadder

I will start off with a photographer who has done the guest blog before and who has inspired me to be a better artist. That guy is Tim Tadder. Tim and I met a few years ago and we both felt an instant connection in our work⦠wow, that sounded more like a “bromance” story, not that there is anything wrong with that. Anyways, Tim and I have come to rely on each other for creative inspiration and as sounding boards for ideas.


Photo by Tim Tadder

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