Posts By Brad Moore

Focus and Focal Length Blending for Landscapes with Ramtin Kazemi

Join Ramtin Kazemi for advanced techniques for editing landscape photographs. In this class you’ll learn the importance of focus stacking landscape images, how to blend images taken at different focal lengths together to bring the background closer, how to replace the sky with one that is more interesting, how to enhance the colors in the photo, why you should dodge and burn to enhance the lighting in the scene, and some final touches that help to unify the end result. Understanding these techniques will help you shoot differently to capture all of the necessary elements and give you the skills to blend them all together for eye popping results.

In Case You Missed It: Advanced Landscape Post Processing Techniques

Learn advanced techniques for processing your landscape photos with Ramtin Kazemi! In this class you’ll discover Ramtin’s workflow, from start to finish, for taking a raw photo from scratch through to being ready to print or share online. Ramtin takes you step-by-step through his techniques for creating vertical panoramas, color adjustments, luminosity masks, selective contrast adjustments, adding atmosphere, and so much more!

Shooting for Consistency

10-15 years ago this wasn’t even a concept. I wish I had access to photographers’ old websites so I could show you just how differently photography was branded compared to now.

More and more potential clients aren’t even going to your website. They’re checking out your other portfolio: Instagram.

Instagram can be a photographer’s best friend or worst enemy. Thanks to this social platform, users can take a look at our most updated portfolio in a millisecond. We’re judged only by the last six pictures we posted.

When potential clients are looking at our images that quickly, and that displayed on that tiny mobile screen, there’s one thing that will stick out in their minds. “Does this brand look put together?”

Make no mistake, photographers (and really all businesses) on Instagram are viewed and evaluated as a whole, not by single images. Consumers are wise to what a good, cohesive, consistent, branded business looks like and they expect it.

In addition to looking at how many followers you have to determine if you’re a reputable business, they will look at your images as a Collective.

Scared yet? You shouldn’t be!

As a photographer, this is your strong suit. If you haven’t honed in on your photography brand image yet, now is the time to start.

As a photographer you have control over lighting like no other businessperson does. There are three easy ways you can start displaying a strong brand, using lighting as your guide.

Finding And Creating Consistent Light

This is where it starts. Your effort here must be very intentional, and not haphazard, or your outcome won’t be successful.

I’ve decided that my images are to be bright, vibrant and soft. So, when I’m deciding where to photograph details, or the bridal party, or the bride and groom, I’m placing them (and any other light that I’m using) fairly consistently in the same kind of places.

For example, if I’m looking for a spot for the bride and groom, I’m looking for a background that is backlit, and I plan on filling in the light in their faces with a reflector or off-camera flash. If I had a more moody style to my imagery, I might always look for a contrasting background with light coming more from the right or left.

This isn’t to stifle creativity. I’m not saying that every picture you take must look exactly the same. Of course I take pictures that are more moody, and moody photographers will take pictures that are more bright and light.

But the overall body of your work should be collectively parallel. Not only for social media branding, but so that you fulfill the expectations you’ve given to your clients. After all, if you have nothing but dark and moody pictures on your website, but then half of your pictures are light and airy, you probably will have clients wondering what happened to the photographer they thought they hired.

Creating Light If You Can’t “Find It” Naturally

You may be a natural light photographer, but what happens when the natural light just isn’t cooperating? You don’t want to run the risk of not delivering the style and quality photos that you’ve promised your clients. You need to be able to create the light instead.

I know off camera flash can be daunting for photographers who shoot natural light. I remember trying to learn for years and getting frustrated with the existing technology and my failing results. Thankfully, it’s gotten much easier.

If you’re ready to learn off-camera-flash, I have something for you. I’ve written a book all about it. But it’s unlike any other book on flash out there.

This is “scenario-based” teaching, and without all of the complicated terms and photograph-ese. You want to make it look like golden hour? Here’s what you need. Looking to create a magenta sunset? Here’s steps 1, 2 and 3. It’s simple, easy to understand and you don’t need to read the whole book to start trying it out right away.

It’s being published by Rocky Nook in February, and you can pre-order yours right here.

Editing Consistently

The next step to creating consistently lit photos is in the post-processing. As we know, there are limitless ways to edit, enhance and potentially destroy a photograph. This is where I see most photographers make mistakes, and you’re not alone! Just scroll down my Instagram feed a little while and you’ll see my all-over-the-place editing and posting (@vanessajoy).

Thankfully, post-production companies (mine is Freedom Edits – $50 off if you use that link) are helping out a lot of photographers now-a-days. When you send your work out to be edited by another company, one of their primary goals is to give you consistent editing. I believe this is teaching photographers the importance of editing consistency and helping their urges to edit according to their mood that day.

This is a place where decision-making has to take place either with your editing company or on your own. As much as one photo might look killer with a vintage edit on it, it just won’t bode well to have it sitting next to a vibrant, colorfully edited image. Make a decision on what you want your images to portray and stick to it.

Again, this isn’t to put you into a box of any kind. You absolutely can change your editing style, and your lighting style even. But these kinds of changes should be done gradually and over time, not daily and whenever the feeling flows.

Another smart move in the Instagram world is to purposefully set your first six pictures up perfectly if you have a marketing push coming. For example, if you know that you’re going to have an ad running, or be implementing some kind of Instagram marketing, anything that’ll drive traffic to your profile, make sure that you’ve “set-up” your profile spectacularly. 

Remember, most people won’t even give you a scroll, they only see the first six images you’ve posted. So, if you’re knowingly making an effort to push people to your Instafeed, make sure those first six pictures are amazing individually and collectively.

Happy shooting!

Vanessa Joy is an NJ NYC wedding photographer. You can keep up with her on Instagram, Facebook, and Pinterest!

Create 3D Effects with 2D Filters AND Dramatic Lighting Effects Using Depth Maps with Corey Barker

Join Corey Barker and take your 3D skills to new depths with depth maps! In this class Corey takes you through a project that starts with multiple 2D images and simple Photoshop filters and uses them to create a cool futuristic 3D scene. In this class you’ll learn how to create 3D objects, bring them into Adobe Dimension, adjust the lighting and positioning, and add finishing touches that take it to the next level. Be sure to check out the second class in this bundle too!

In this second depth map class, Corey takes you through a project that starts with a single 2D photo and transforms it into a dramatically lit 3D scene. Download the starter image and follow along as you learn how to create the depth map, apply it to the photo, adjust the lighting for dramatic effect, add realistic touches, and even add text. Be sure to check out the second class in this bundle too!

In Case You Missed It: Hollywood Effects Bundle

Take your Photoshop creativity to new levels by exploring Hollywood style compositing tricks with Corey Barker! In this class Corey teaches you how to create amazing effects using layers, brushes, masks, selections, and other Photoshop tools while building a movie poster. This project will expose you to a variety of techniques and give you a lot of ideas that you can use in other projects. Corey steps through the project from the base image to the background, and all of the cool atmospheric effects and textures that bind the final image into a masterpiece!

And don’t miss this fun project from Corey that creates a 3D scene from a flat 2D piece of art while exploring a certain part of movie history. Corey provides the original 2D art so you can follow along as he explains and demonstrates each step in the process. By the end of the class you’ll have your own version of the 3D scene and a new set of Photoshop 3D techniques that you can use in your own creative projects.

When I was invited to write on Scott Kelby’s blog I was instantly excited! I have followed Scott Kelby for years and years!

I decided to share about my life and my career. I tried my best to curate it properly, but my life is all over the place. As a result, my write up of my life and career was all over the place. If I were going to be authentic, I needed to write that way. Hang in there with me!

My name is Audrey Woulard, and I have been a full time professional photographer for the last 17 years. I would have never thought that I would be in the position I am today. I was not the girl who grew up loving photography. I was not the girl who always had a camera in her hand. I was not the girl who felt even remotely artistic or creative. Truth be told, I still do not feel creative. I feel like an anomaly within the industry of photography for so many reasons.

So you know how I mentioned that I would have never imagined that I would be in the position I am today? There were so many reasons why. I quit my very good corporate job to be a stay at home mom (SAHM).  Let me add that I had a very good corporate job in my early twenties. So I gave up the growth that I could have achieved because being home with my kids meant the world to me.

After I quit, money was tight, so I didn’t have the luxury of buying all the latest equipment. I mean, at the time I didn’t even know I liked photography! So I was at home with a small child, and two babies that were a year apart. My husband came home with a super cheap digital camera that he bought from his sister for $50. He literally said, “maybe this will keep you busy.” My sister in law won that camera at work. This camera came with a disk that contained Adobe Photodeluxe. From there, my love for photography was born!

I would use that cheap Fuji digital camera, and the most remedial version of Adobe’s editing software and I was honing my craft! I would practice and practice every single day. Those babies of mine back then are now all adults in college! I figured out ways to manipulate light to create images with inferior equipment. I was creating images that many just weren’t creating. When I say I was practicing, I was practicing! I printed so many of those images! What is funny is that I have prints of my practice images, whereas photographers today, have images saved on hard drives or their phones to remember when they practiced.

I have to stress that the only reason I still have those prints today is due to my mother. She saved every single image of her grandchildren that I shared. My father would buy the biggest and best printer out there! When I sent my mother digital images, my father would print them. This is the only reason why I still have those images.

I would share my work in online message groups and receive praise. Well, not all of it was praise, but I think my consistency with what I felt was my photographic voice resonated with those who viewed my work. Now let me be honest here, my work back then was beyond awful! They need a new word for awful when I look at my early work. I am also very proud of it because it is part of who I am, and I just can’t run away from it. I don’t want to.

There are always those friends and family members who tell you that you should go into business. For some strange reason, I decided to listen to them! I was in love with what I was doing, and it gave me a creative outlet. I was going to be a baby/family photographer. The one thing I told myself was that I was not going to go and play with other children, and not be paid handsomely for it. I also wanted to be known for my work, and my work only. I didn’t want it to be about me, and who I was.

Truth be told, there weren’t a lot of black women photographers out there, and I wasn’t sure if that would make someone decide that they didn’t want to hire me. However, I knew they would love my work and me once they met me. So I kept what I looked like under wraps by not placing a headshot on my website. This was done for those who weren’t referred by someone who personally knew me.

Because I wanted to be paid well, I decided to create relationships with high-end businesses within the city of Chicago. I did this so that I could ensure I could charge handsomely for being away from my boys. If I were going to be away from them after I decided to be a SAHM, I wanted to have something financially that would benefit them. Well, it worked, and it worked almost too well! People loved me, and loved the way I approached the photography process. More importantly, they loved the pictures. Clients weren’t able to predict the final outcome. My business BOOMED! No one cared what I looked like. Everything seemed to be going great!

Remember those Internet message boards I spoke about? Well, I kept sharing my work there too. I confidently went against the photography norm. Let me be honest here, I hate rules! So I kept trying to find reasons to break them. I guess this is why I was the child who gave my parents and teachers a hard time! I stuck to my guns and created a large photographer following. I know in 2019 we live in a land full of influencers, but in 2005/6, that was not my goal. I consider myself an ambivert. An ambivert is a person whose personality has a balance of extrovert and introvert features.

I am very extroverted when need be, but I also crave my space like an introvert. When things are smooth sailing, I am quite introverted. When I need to shake things up, I am the biggest extrovert you’ve ever seen. I am not afraid to speak to large crowds. I am an advocate for myself, and I am not afraid of confrontation. I am not afraid of anything really. However, I like to keep to myself! It’s such a conflicting personality. However to the masses, I believe it is a very confusing personality.

So with this large photographers following I built, most just knew of my work. They knew little about me. I never talked about myself really due to my ambivert personality. At the time, I didn’t have the luxury of social media to create my own narrative. I would meet photographers in person, and they would say they assumed I was a 6ft blonde woman!

I was catapulted on the biggest stages within the industry with platform presentations at Imaging, and WPPI. My rooms were overflowing with people! One year at WPPI they put me in a small room and the Fire Marshall came by and shut my class down. The next year (2009), they placed me in their biggest room. It was FULL!

All the while, I didn’t see anyone who looked like me on stage. When I say I didn’t see anyone, there was absolutely no one. It was me. Just me. I was the representation, but I also was too young and too busy with my home life to understand what that responsibility meant at the time. I was in my twenties, and creating history. The only thing I could think about was getting back home to my babies. My biggest goal at the time was to satisfy my urge as a woman to have my own, and to make sure my family didn’t miss me. That was it. That was my goal. My goal was work/life balance.

Going back to WPPI. I had my lab print out about 12 huge enlargements that sat on easels. They were in the front of the room.

I stood on that stage in front of almost 700 people and proudly said I shoot JPEG. The sound of the GASPS was deafening! The audience didn’t look like me, so I felt a bit isolated. Nothing was familiar to me. I still stayed true to who I was. I invited people to come to the front of the room and inspect my prints.

Let me say this… Now, I shoot RAW! However, my point is that I was true to who I was at the time. I got beat up really, really bad. I wasn’t beat up because of my work. My work was good. I was beat up because I proudly said how I did things very differently. I said that as a person that people felt was someone they looked up to. I didn’t follow the status quo of photography.

It isn’t easy to stick out from the crowd. It is much easier to go with the flow. It also isn’t easy sticking out photographically when the average photographer doesn’t look like you. There were absolutely no black female photography speakers when I was speaking on major platforms. I was the only one.

After those platform presentations at WPPI I bowed out of the public scene a bit. I would speak at Imaging every other year, but outside of my personal workshops, I did nothing. I refused everything. I wouldn’t respond to conferences who would ask me to speak. I simply felt it wasn’t worth it the heartache I felt I would endure. I was taking so many hits from the peanut gallery that it just wasn’t worth messing with my mental health.

During that time, when it came to photography education, I kept to myself and did my own thing. I still conducted my own personal workshops. I conducted those with absolutely no sponsors of any kind. There were years when I had workshops once a month. Each one sold out. I also took my workshops international. I have had two sold out workshops in London. I’ve had one workshop in Amsterdam, and I have had three workshops in Australia! I have been very blessed to have people from all over the world want to learn from me.

Now things are going GREAT! My business has continued to grow by leaps and bounds! I’ve had not only one, but TWO brick and mortar studios in Chicago. My most recent one was in the very trendy West Loop. I still tried to keep it all a bit low key.

At this point, I struggled with being proud of my accomplishments, and worrying if others felt I deserved them. It was like I was the most confident, yet insecure person out there!

After taking a break from the BIG public scene of the photography industry, I jumped back in. My break was about 5-6 years. I came back in and thankfully didn’t miss a beat.

During my break, I nurtured my soul. I understood why I was doing what I was doing. I photograph people because I like getting to know others. Speaking to huge crowds, yet making zero connections, is something that I struggle with. Getting to know people keeps me going. Because of that natural part of my personality, I kept my early client base.

I nurtured those babies and young kids that I started with. They all grew up into tweens and teens. I rebranded my business (that is a story in itself!) and became a tween/teen photographer. My photography business continued to flourish, but on a new level! I was tapping into a market no other photographer was. Again, I was stepping out on faith, and doing something that was against the norm. As an industry, we think babies, families, seniors, and weddings. That’s kind of the portrait timeline. Then you have headshots, and commercial work.

In 2014 I found a new genre. I grew with my family and my business! I was now a popular tween photographer!

So I stepped back onto the speaker scene full time in 2015. I was ready to talk about how I was dominating this new genre of tweens! At 7:00 in the morning, my room was back at 700 capacities at Imaging USA.

I seriously did not expect that! I remember staying up ALL night stressing!!!

After that presentation, my presence grew with photography vendors. Of course I kept conducting my photography workshops, but I became one of the first black female photographers that was an ambassador for a major camera brand. This wasn’t the goal but hopefully it opens the door to others that look like me.

What is the takeaway from this ramble?

Follow your heart, not the status quo. Do this regardless of who you are. Follow what you want to do. Do not create what you think will bring you likes. People are attracted to consistency; consistency in all areas! It’s not going to be easy, so do not go into it thinking it will be. You will ruffle some feathers doing so.

For me, I was consistent with my work, and I was consistent with what I spoke about. Although it is easier if everyone loved me! It felt better if I did things where I loved myself. It is hard when the things that I convey to the masses are misunderstood. However, I was placed in this particular position for a reason, and I am going to navigate it with honesty and integrity.

I am a mom with a camera. I create work that speaks to my soul. I also speak words from my soul. I have had so many great things happen for me that more importantly opened doors for others. I also have had a lot of bad things and heart break in regards to being recognized for my work. You have to find a way to just keep going.

Follow your heart. I know I did. As uncomfortable as it may be, you never know what can happen.

Many today would never view me as an underdog. When I began, that is what I was. Sometimes I look at my accomplishments and think that no one would even think that I am an underdog. I often think that if I voiced a grievance online, it would be viewed as arrogant. However, when you complete a goal, you must create new goals. Guess what? Even today as I am writing this, I am being turned down from a goal. I am now an underdog to that particular goal.

As much as it may hurt, or discourage me, I am going to keep pushing on. Hopefully I have another opportunity to share the addendum to this story!

The moral of this story is, regardless of who you are, please keep pushing! The creative industry is complex, and very rewarding at times. Just like capturing a picture!

You can see more of Audrey’s children photography at ALWPhotography.com, more of her tween/teen photography at KATCTeens.com, and find resources for photographers at AWWorkshops.com.

You can keep up with Audrey on Instagram, Facebook, and Vimeo.

Post-Processing Milky Way Landscape Photography with Erik Kuna

Join Erik Kuna for the post processing companion to his previous class, Demystifying Milky Way Landscape Photography! In this class Erik shares his Lightroom Classic and Photoshop techniques, tips, and tricks for bringing your Milky Way photos to life. Erik demonstrates each step in the process with examples taken during the first class. You’ll learn how to nail white balance, correct distortion, adjust tonal values, add presence and color, make localized adjustments, reduce noise, composite multiple exposures together, and so much more. Erik reinforces the techniques with a start to finish workflow to bring it all home.

In Case You Missed It: Demystifying Photo Pills

Learn how to get the most out of PhotoPills when planning your next outdoor photography adventure! Join Erik Kuna as he explains exactly what this app can do, why photographers should care about using an app like PhotoPills, and how best utilize all of the features and functions within the app.

In this class you’ll learn the basic terminology needed to use the planner, how to use the app to plan a photo shoot based around the position of the sun, the moon, or the milky way, how to discover when the next eclipse will occur at a given location, how to perform useful calculations, and so much more! Erik even breaks down all the steps he used in planning for a variety of different photographic scenarios. By the end of the class you’ll have a whole new appreciation for the ability to plan around celestial events using PhotoPills.

Photo by Nadra Farina-Hess

Things I Wish I’d Known Before Going Pro

Thank you to Scott and Brad for having me back here as a guest blogger. When Brad asked if I would be interested in doing another guest blog, I thought for a long time about what I could write about that would help those reading this blog. In past guest blog posts, I have talked about sorting and editing using Bridge, what it’s like to shoot a full day concert, photographing pets, and of course, more concert stuff. 

This time around I want to talk about what I wished I had known before giving up my day job and going into photography full time. I made lots of mistakes, and I still make mistakes. But I make fewer than when I started, which is a good thing. Many of you know that I am a concert photographer, but I earn most of my income from photographing corporate events, some private and some public. This post is about that work, as it’s where I earn my living and where I have made the most mistakes. So here are five things I wish I’d known before going pro.

Blues Traveler in concert. (Photo © Alan Hess)

You Have To Run A Business As A Business

I wish I had taken more business classes in college. An accounting class would have been really useful. I thought that being in a creative field like photography would mean less spreadsheets and more fun, but working for myself means that I have to deal with a lot of stuff that isn’t photography. I actually spend much more time on the non-photography stuff than I do making photos, like…

  • Finding the work (that’s a whole different blog post).
  • Creating budgets and scheduling the work.
  • Creating invoices, tracking payments, and keeping track of what’s owed and when.
  • All that business stuff isn’t taking photos or very creative at all.

I ended up going back to community college to take an accounting class just so I could understand the math behind my business. This ties right into being able to say no to work sometimes. You need to understand how to price your work. And if you don’t understand how to do that, how will you know when you should turn down a job offer because the money isn’t right? 

One more thing about running a business, you need to make sure you use contacts and legal forms. This protects you and the client. 

A lot more spreadsheets than I expected.
Freeman 90th Gala at the Winspear Opera House in Dallas, TX. (Photo © Alan Hess)

Can’t Do It Alone

This one took me a while to understand and even longer to embrace. I honestly thought the I was in direct competition with every other photographer in San Diego. While there is some competition (as there is with every job) having a group of photographers you can work with is way more beneficial than working alone. Let me give you a few examples of what Im talking about.

The first involves one of my best clients, a company that has hired me consistently over the past four years for multiple jobs in San Diego, Dallas and Nashville. This client only found out about me because another photographer here in San Diego gave them my name when he couldn’t take a job due to a scheduling conflict. If it wasn’t for the relationship I have with this other local photographer, I would never have been introduced to this client. 

Don Freeman photographed at the Freeman 90 year anniversary gala. (Photo © Alan Hess)
The cast of Scream Queens photographed for FOX/FX at San Diego Comic Con International. (Photo © Alan Hess)
Stan “The Man “ Lee photographed at the Fox booth during the San Diego Comic Con International. (Photo © Alan Hess)

For the last decade, I have been photographing the San Diego Comic Con for a variety of clients. You can hear all the details on the He Shoots He Draws podcast (episode 87). In this interview, I discuss how for the last three years I have had Hasbro as a client but I needed to put together a team of photographers to do the job.

I was able to reach out to a group of local photographers that I know, and trust, to work with me to get the client everything they need. Had I not had a good working relationship with a group of local photographers, I would not have been able to take the job at all. So just keep in mind that while there will always be some healthy competition, cooperation can really help move your business forward.

Learn To Say No 

This one might be the hardest lesson to learn, at least it was for me. I really thought that I needed to take every job that was offered to me. Boy, was that a mistake. I would say yes to jobs that didn’t fit my style or what I wanted to photograph. I would end up unhappy, and the client would end up unhappy which really didn’t help my business grow.

For example, I was recently asked to do a newborn shoot by someone I know from photographing concerts. They know me as a photographer, so they asked if I could do this for them. Knowing how important these types of shoots are and that it’s not something I do, I had to say no, but I did offer to put them in contact with someone better suited to their needs. This is another great example of why you need to have photographer you know and trust.

Dick Enberg and Bill Walton at the 2014 SLI Winter Conference. (Photo © Alan Hess)
Experience Freeman. (Photo © Alan Hess)

The other time I had to learn to say no is when the job would end up costing me more than I would make from it. That’s a great way to go out of business slowly. I know hard hard it is to say no to a paying photo gig, I used to just say yes to all of them. Then I started to think like a business person and did a little math and started saying no. I am not saying that you should never work for a low payment or even take a job for free now and then, just make sure that it is worth your time and energy. I still take photos at charity events for a greatly reduced fee and will still even shoot for free if I think the images created will help me book future work or its something I believe in. 

Consistency Is Key

Make sure the you can recreate the photos in your portfolio. Clients are going to hire you on your ability to create images for them in the style and look of the photos in your portfolio. Makes perfect sense, yet we tend to pack our portfolio with the very best images we have taken, even if those images were shot at workshops or when there was help with the lighting or styling. This is a huge mistake unless you are confident you can recreate the image yourself. The best way to avoid this, is to recreate the image in question and add that one to the portfolio instead. 

Every image in my portfolios (yes I have different portfolios for different job types) was taken by me without any help, and the look and style of the images can be recreated for my clients without worry. Most clients that hire me for my conference work want a full set of good images that can be used to show what the conference was like, and can be used if they ever put on that event again (or one like it). I have heard from clients that the sets of images I produced at past events are still being used to to this day. 

This type of image can be used by the client not just to show what was going on at the current event, but in the future. Think of it as a custom stock image for that client. (Photo © Alan Hess)
Knowing that I was going to have to photograph some award winners against the video wall, I made sure I took some practice shots before the ceremony took place. This allowed for consistent images of all the award winners. (Photo © Alan Hess)
Impromptu group portrait taken at the Winspear Opera House in Dallas TX, during the Freeman 90th Gala. I saw a spot where the light was just great and started to take multiple group shots of the attendees. You always have to keep your eyes open. (Photo © Alan Hess)

Have A Shot List

One of the reasons I have repeat clients is that they know what they are going to get from me. I make sure that we discuss the job beforehand and that I have no questions about their needs. When I started out, I assumed I knew exactly what the client wanted without actually talking to them. This led to some awkward moments when the client asked about a specific image and I didn’t have it. Now I make sure that I discuss the shot list in depth and if the client doesn’t have a shot list, I ask them to create one or we can create one together. 

Many times the hardest shot to take are the ones the client thinks are the easiest. This usually end up being a large group shot in poor lighting conditions without any way to get everyone in the shot. In the two following examples, I made it work in really terrible lighting conditions without any extra gear or preparation time. In the second shot, I had people stand on furniture and I stood on a chair myself. 

A quick group shot of the early morning running crew at a workshop. With this few people, I just staggered the three rows and stood on a narrow staircase to get a little height. (Photo © Alan Hess)
After a great Guitars in the Classroom meeting at the NAMM show, we decided to get a quick group shot in a very poorly lit ballroom. The key was getting some of the subjects to climb up on chairs to stagger the three rows of people/ (Photo © Alan Hess)

I was recently on a four day job covering a conference / workshop with about 150 people. They wanted me to take a group shot of all 150 attendees on the last day inside the workshop area. I had never seen the location before, so I had to rely on my problem solving skills and my past experience on taking large group photos. Turns out the ceiling was really low and there were pillars in the middle of the room. I worked out a way to use the staircase and the landing, along with a couch to gain as much height as possible and got the shot. I was only able to get this shot (I can’t post it here due to client restrictions) because I had worked out the best way to do it and I have had practice in that type of image. Still, it was the most stressful part of the job.

I really hope that some of these help you if and when you decide to turn a hobby or passion into a business. 

You can see more of Alan’s work at AlanHessPhotography.com, check out his portfolio, and keep up with him on Facebook, Twitter, and Instagram.

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