Business

© Paul Conrad/Pablo Conrad Photography The last rays of the setting Sun bathes the snow-capped peak of Mount Baker in alpenglow as the lights of the city of Bellingham, Wash., begin to turn on during evening April 23, 2013.

What I’ve Learned Working Retail …

… And how it relates to a Photography business.

© Paul Conrad/Pablo Conrad Photography- -Folklorico Mexicano dance team member Ashley Ventura,12, of El Jebel, Colo., watches others rehearse at Basalt Middle School during Cinco de Mayo celebrations.

Over the past year to help catch-up some bills, I worked at  The Home Depot here in Bellingham, Wash. I started as just a cashier but worked my way into the electrical department. It wasn’t as if I was going into something I didn’t know as I was an electrician in the Navy and for two years afterwards.

Even though I was part-time, I took the opportunity to learn as much as I could about

  • customer service,
  • stocking,
  • ordering,
  • inquiring, and anything else to make that job, and this photo business run so much easier.

Customer Service:

© Paul Conrad/Pablo Conrad Photography - Kit Tramm of Indianapolis eyes his target while fly fishing on the Fryingpan River near Ruedi Dam in western Colorado.

The term customer itself is self explanatory. It is someone who needs something according to their needs. Even though I am a photographer and in that business, the requirements for customer service are the same as retail. You are offering a product and a service to your potential clients.

To provide the best customer service I can, I ask a lot of questions: What’s your goal with the photos? What’s their purpose? Would you like studio or location shot? Would you be flexible for both?

That is why it is important to schedule a consulting session prior to the actual photography. Find out what the client wants. don’t leave them nor yourself in the dark. Answer ALL the questions necessary before moving forward.

Stock Up and Keep Samples:

Not stocking per se, but having samples so the client can actually see what your work looks like in an album or book, on canvas or metal prints, or see your editing and Photoshop skills.
© Paul Conrad/Pablo Conrad Photography - Samples of my canvas prints.

It’s difficult to explain to someone what certain techniques look like on prints when you have none to show them. It’s worth the money to buy prints of several sizes, surface textures, and mounting styles to show your clients.

Let them physically touch and look at how crisp a metal print looks and how it mounts to a wall. Or how they can compare what an image looks like on canvas versus metal versus paper. How glossy compares to matte.
© Paul Conrad/Pablo Conrad Photography - Samples of my metal prints.

It’s also good for them to be able to compare sizes so they can be a smart consumer and order what they need. Show them what 8×10 looks like compared to an 11×14 and explain the value of each.

Let them physically feel your products to help them better understand all the options. You will make more sales in the long run.

Ordering and Ensuring High Quality:

The most asked questions we got are “How long will it take?,” “Is it easy to order?,” and “If I don’t like it, can I return it?”

It’s so important to know what the turnaround for each lab you use. I use two labs and their turnaround is reasonable: usually under a week. However, I have the items shipped to my house so I can inspect them. If they are not up to my standard, then I return them for new ones. Usually I have no issues.

For smaller projects, I give the client a three week time frame. A week to edit and post process the image, and two weeks for printing. You want to add a little time in case you need to get them reprinted. But if everything is good, you can deliver them early and this makes you look good.

However, usually it takes about 2 weeks total time. My week to edit is just in case something may happen. And the extra 2 weeks in case I have to get the prints made again. A worst-case scenario so-to-speak.

For larger projects such as weddings, those range 4 to 6 weeks to edit, post process, and get printed.

Inquire and Fulfill Their Needs:

I guess the better way to say this is Constant Contact. Keep in touch with the client so they not only know what’s going on, but make them feel comfortable to call if they have any questions.

Never leave the client hanging. If the client asks a question, respond immediately. If you have a doubt, ask the client to clear it up. Again, never assume nor leave the client hanging.

If you don’t have an answer for the client, find one. Even if you discover you can not do the job, FIND a photographer you know the client will be both comfortable AND happy with.

Go Above & Beyond:

“An ounce of performance is worth pounds of promises.” – Mae West

© Paul Conrad/Pablo Conrad PhotographyCoCo & Company make-up artist Antonio Cejudo finishes a client during the Seattle SMUG Cancer Survivor's portrait session at the Baroness Hotel in Seattle, Wash.

There is an old saying which I adhere to: “Promise nothing but deliver everything.” People are genuinely surprised when they hire me. I work hard, stretch my creativity, and deliver good images. I give them more than what they expected.

On the flip side, don’t make promises you can’t keep. The worst thing you could do is promise someone something and not deliver. It kind of follows the old adage “You’re only as good as your last photo.

Even though they hired you to do a job, it doesn’t mean you shouldn’t deliver more than what they expected. After all, it will only increase your business and your reputation.

Thank the Customer:

© Paul Conrad/ Pablo Conrad Photography - Musician Mary Morley of Summit County belts out a few tunes with her group in Snowmass Village, Colo.

Be creative and find ways to thank your clients. Show them that you appreciate their business. It’s not enough just to do a good job, clients really appreciate it when you go out of your way to make sure they get what they need, and get a nice thank you for doing business.

Send them a nice thank-you card, send them a card during the holidays. Call them to make sure everything was up to their satisfaction.

Your job isn’t done when you give them their final product.  It’s really just beginning.

Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.

Also, feel free to share and reblog, link to, and add your site in the comment section.

Paul “pablo” Conrad

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Calendar Photography: Illuminating Goddesses

***Updated***

For the past week or so I’ve shot portraits of Goddesses for my local client Ashley Benem of Benem’s Body Works.

Ashley contacted me through a friend of a friend. Upon first discussion, her ideas intrigued me and wanted to work with Ashley on her project. She needed various models dressed as certain goddesses for her calendar.

These consisted mostly of studio sessions with a few outdoor shoots. For the studio, I used Einstein monolights made by Paul C. Buff.  These lights are phenomenal.

I borrowed them from my good friend Earnie Glazener of Seattle, Wash. I’ve used studio lights multiple times before, but these were fantastic. With a quick tutoring session, I realized I need to get me a set of them.

For the main light, I used one with the parabolic light umbrella (The PLM system), which is basically a huge beauty dish and gives off some wonderful light. My fill was a basic soft box by Paul C. Buff. On some shots for more dramatic light, I used a Photflex reflector to fill in the shadows for more dramatic light.

For the outside shots, I just used the reflector to fill in the shadow areas.

After setting up the lights, I took a few test shots each day using my Color Checker Passport by X-Rite Photo. Just a few shots at the metered exposure and then a few more bracketed. The good thing with the Einstein lights is that they are extremely consistent with their color temperature.

These are some of my favorites and how I lit them:

Artemis the Hunter:

© Paul Conrad/Pablo Conrad Photography - Ashley Benem of Benem's Body Works portrays the Greek goddess Artemis the Archer, Goddess of the Hunt, Forests, the Hill, and the Moon, during a photoshoot for her upcoming calendar.

© Paul Conrad/Pablo Conrad Photography – Ashley Benem of Benem’s Body Works portrays the Greek goddess Artemis the Archer, Goddess of the Hunt, Forests, the Hill, and the Moon, during a photoshoot for her upcoming calendar.

Lighting: What was important in this photo was the angle of her drawing the bow (it is a real bow and arrow) and the ability to see her eyes. Yes, the inspiration for the angle was the movie poster for The Hunger Games.

A basic lighting set-up was used for this image. Ashley was simply lit with the large PLM umbrella on the left and a powered down soft box (2 stops under) on the right. Exposure was 1/250th at f/11 using my D300s with 80-200 zoomed halfway for a slightly compressed feel.

Post Processing:  Simply brought into Adobe Camera Raw to get correct color balance and add a little fill light. Brought into Photoshop and used separate layers for curves (slight increase in mid-tones) and Black & White layer for the sepia.

Persephone Daughter of Zeus:

© Paul Conrad/Pablo Conrad Photography - Greek goddess Persephone daughter of Zeus being tempted by Hades. Queen of the Underworld and vegetation goddess.

Lighting:  What was important in the photo was all the white with emphasis on the reds of the pomegranate and her lipstick, yet, still maintain some color for her skintones.

The model was simply lit with the large PLM umbrella on the right and the soft box on the left as fill. I wanted less depth of field so I powered down all the strobes to their minimum. Exposure was 1/250th at f/4 using my D300s with 50mm f/1.4  focused on the pomegranate.

Post Processing:  I brought the image into Adobe Camera Raw twice: once for correct exposure and color balance, the second time to get the overall overexposed look. Those were then layered in Photoshop with the bright layer converted as a smart object and placed on top of the “correct” layer. I then used the eraser tool with the opacity and flow settings set to the mid-range on that layer to bring out the red in the lips and pomegranate of the underlying layer. I then added a curves adjustment layer to flatten the highlights and add just a touch of contrast.

Athena Goddess of War:

© Paul Conrad/Pablo Conrad Photography - Athena the daughter of Zeus, Greek Goddess of wisdom, warfare, architecture, divine intelligence, and crafts.

© Paul Conrad/Pablo Conrad Photography – Athena the daughter of Zeus, Greek Goddess of wisdom, warfare, architecture, divine intelligence, and crafts.

Lighting: What was important in this photo is to make her look the part. Ashley did a great job coaching her to bring out the character as she did with all the models.

While shooting, I had to pay attention to the sword because when it was turned the “correct” way, the glare was overwhelming. The model was simply lit with the large PLM umbrella on the right and using a Photoflex MulitDisc 5-in-1 reflector on the right using the gold fabric surface. I wanted less depth of field so I used my 80-200 to compress it a touch. Exposure was 1/250th at f/11 using my D300s with 80-200 f/ 2.8 focused on her eyes.

Post Processing: I brought the image into Adobe Camera Raw for correct exposure and color balance. Then using Photoshop, I layered a curves layer to bring in the mid-tones and add some contrast by anchoring the upper shadow area. Then I added a Black & White layer to add the sepia toning.

Brighid- Celtic Goddess of Childbirth & Poetry:

© Paul Conrad/Pablo Conrad Photography - Brighid the Celtic Goddess of Childbirth and Poetry.

© Paul Conrad/Pablo Conrad Photography – Brighid the Celtic Goddess of Childbirth and Poetry.

Lighting: What was important in this photo is to ensure the herbs on her left were properly lit as well as lighting the globe with a spot light so it has a glowing feel to it.

While shooting, I had to pay attention to the globe to make sure the model held it in the spot where my snooted SB-800 strobe was firing. The rest of the model was simply lit with the large PLM umbrella on the left as the main light to keep the herbs well-lit.  The right side was lit using a soft box set about 2 stops under the main. Exposure was 1/250th at f/11 using my D300s with 17-35 f/ 2.8 at about 20mm focal length.

Post Processing: I brought the image into Adobe Camera Raw for correct exposure and color balance. I also made the shadows a little deeper to drop out the black background. Then after importing it into Photoshop, I layered a curves layer to bring in the mid-tones and add some contrast by anchoring the upper shadow area. Then I added a Black & White layer to add the sepia toning. With the B&W layer, I added a mask and using the eraser tool, deleted that part over the herbs to bring out the green. The opacity and flow settings on the eraser tool were set to the mid-ranges to keep the edges from being to stark.

There are a total of 13 models for this shoot. Each one has their own special characteristics. Each one with their own special circumstances. These are just my 4 favorites.

Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.
Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.

Also, feel free to share and reblog, link to, and add your site in the comment section.

Paul “pablo” Conrad

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“Like” my Page on Facebook

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© Paul Conrad/Pablo Conrad Photography - Shooting the alpenglow on Mt. Shucksan while waiting for the rise of the super perigee Moon on Saturday evening June 22, 2013. As I liked the reflection better, I turned the center post of the tripod upside down to get my camera closer. Unfortunately, I inadvertently hit the focus ring and knocked it out of focus.

Tape: A Small, Yet Useful Tool

Think about this: What minor tool do you use regulary, that if you forgot, it would impact your image taking?

It was a beautiful clear evening and the super perigee Moon was coming up on Saturday June 22, 2013. Checking a few of my favorite shooting spots, The Photographer’s Ephemeris said the Moon should be rising above Mt. Shuksan in the Mt. Baker-Snoqualmie National Forest. So, I loaded up my gear into the car, kissed my wife on the forehead, and drove to Picture Lake at the Mount Baker Ski Area.

Setting Up:

© Paul Conrad/Pablo Conrad Photography - Shooting the alpenglow on Mt. Shucksan while waiting for the rise of the super perigee Moon on Saturday evening June 22, 2013. As I liked the reflection better, I turned the center post of the tripod upside down to get my camera closer. Unfortunately, I inadvertently hit the focus ring and knocked it out of focus.

But the one simple tool I forgot: A small roll of gaffer’s tape. I usually keep a roll in my camera bag, but earlier I had taken it out to tape up a backdrop to some poles. It last forever. I bought my trio of black, white, and gray, from Glazer’s Camera for about $12

For some reason, I took it out of my camera bag the day before and forgot to put it back in. I did not realize I forgot it until I arrived at my destination and began setting up for the shoot.

What I usually do is simple. After setting my camera up, I focus the lens, turn off the autofocus, and tape the focus ring. However, without tape, this was a futile effort.

Taping the Lens:

A small piece of Gaffer's Tape would've prevented a costly mishap

As Picture Lake was still frozen from the winter, I set my camera up on my tripod nearest I could to a melted portion of the lake. After spending about 15 or 20 minutes shooting, I wanted to get my camera lower to the water to get more of Mt. Shuksan reflected in the melted portion of the lake.

So I took the tripod and flipped the center pole. Then I put the tripod back where it was and adjusted the composition. I used video mode to do this. However, I unknowingly bumped the focus ring and for the next 20 frames, the mountain was out and the freezing water was in focus.

Upside Down:

© Paul Conrad/Pablo Conrad Photography - Shooting the alpenglow on Mt. Shuksan while waiting for the rise of the super perigee Moon on Saturday evening June 22, 2013. As I liked the reflection better, I turned the center post of the tripod upside down to get my camera closer. Unfortunately, I inadvertently hit the focus ring and knocked it out of focus.

After taking a few shots, I checked the images. They looked good and the composition was better as you can see more of the mountain in the water. However, I did not zoom in to check the focus. Always zoom in to check the focus of your photos. It never hurts.

As the Moon began to rise over the ridge on the right side of the mountain, I continued taking photographs.

Out of Focus

© Paul Conrad/Pablo Conrad Photography - The super perigee Moon rises over Mt. Shuksan in Whatcom County East of Bellingham, Wash., on Saturday evening June 22, 2013.This out of focus shot could have been prevented with a 10 cent piece of tape.

After the Moon was fully over the ridge, I pulled the rig out of the water and began checking the images. It was not until then that I noticed the images were not in focus. Not a lot I can do but continue to shoot.

But, I was able to salvage one frame from this: The alpenglow on Mount Shuksan before the super perigee Moon rose over the ridge.

The One Salvaged Image:

© Paul Conrad/Pablo Conrad Photography -  Mount Shuksan is reflected in a thawing Picture Lake as it is lit by the setting Sun on Saturday June, 22, 2013, while the super perigee Moon begins its ascent into the sky.

After getting home, I downloaded and was hoping the images were not as bad as I thought. The were.

One simple piece of tape most likely would’ve prevented the mishap. But, I got one good shot at least.

So back to the original question: What one little thing do you use on a regular basis that if you forgot, it would impact your photography?

Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.

Paul “pablo” Conrad

Follow me on various Social Networks:
Paul Conrad Photography

“Like” my Page on Facebook

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Intro to Creative Flash Part 2: Balancing Your Flash With Ambient Light

Pleasure in the job puts perfection in the work. We are what we repeatedly do. Excellence, then, is not an act, but a habit. — Aristotle

In Part 1 of this series (Intro to Creative Flash Part 1: What is “Shutter Sync?” and What are These Other Settings?), I covered sync speed, camera and flash settings, and general information on how your camera fires the flash.

But again I stress, read your camera and flash manual. Those little booklets contain a wealth of information about your particular gear.

And as I always stress: Learning Photography is not a Spectator Sport.

For this, it was simple on camera flash. I rotated the head towards the model. With a shutter speed of 1/4 of a second, I was able to capture the ambient light. The white balance was set on daylight as I liked the warmth of the lights in the background.

Ambient Light and Flash:

Using your flash with ambient light is easier than you may think. The key thing to remember is that you have full control of your flash. However, you can only  control ambient light using your shutter speed and aperture. The ONLY limitation you have is what your camera’s top flash sync speed is.

When working with ambient light you must remember two things concerning your exposure:

  • 1. The shutter speed controls the exposure for the ambient light
  • 2. The aperture controls the exposure for the strobe.

Using the “Sunny 16” rule to expose for the bright sun I set my flash was set on manual to f/8, 2 stops lower than the ambient light. Nikon D1H ISO 200, f/16 @ 1/200th.

Another thing to remember is to balance your flash with the color of the ambient light. Most flash units come with filters so you can balance your flash with tungsten and florescent lighting. These are little filters that are yellow (tungsten) and green (florescent). More on this in just a bit.

TIP: The key to getting good fill flash is under powering the strobe 2 to 3 (Sometimes 4) stops less than the value of the ambient light. Example: shooting in sunlight, your meter says f/16 @ 1/125th. Set your strobe to f/5.6 or lower to fill in the shadows.

TIP: You can go the other way and over power the Sun (temporarily of course) to make your subject stand out. Set your camera on full, position the strobe so it is close and underexpose the sunlight.

“Shutter Drag:” Using the rear curtain synch mode to fire the flash at the end of the exposure during the slower shutter speeds. Example, photographing a skateboarder you use a longer shutter speed to blur the background (Panning) and the flash to light him. Another is dancers on stage. It exposes them at the end of the exposure.

Using an off-camera flash to fill in the driver. The meter was being fooled by all the snow, so I had to go full manual. Having my camera on a cord allowed a more natural looking light on the driver.

TIP: Good panning shots w/flash require about a stop or two under exposure of the ambient and good exposure for the flash.

Low Ambient Light:
When using your flash in poorly lit conditions, set your flash to about one stop over the ambient light level in order to prevent “ghosting.”

For example.  In the photo below of the downhill mountain bike racer, the trail winded through the trees. Although it was a sunny day, the light was dark. My shutter speed was about 1/500 at f/2.8.

Although I shot many competitors zooming by me at that speed, I wanted a way to capture the feeling of the speed the contestant were traveling. So I used a low shutter speed of 1/30 at f/11 to capture this, but the photos were a bit too blurry for me.

To make the mountain biker sharp, and still keep the blurry background, I used my on-camera flash. I then set it on manual to get a proper exposure at f/22. I kept panning the subjects as they zoomed by and captured this image in the process.

For this shot of a mountain biker sliding down a steep section during the annual Blast the Mass bike race, I panned with the action and popped my flash at a setting of 1 stop over ambient. Nikon D200, SB800, f/22 at 1/30th.This is a good example of “shutter drag.”

Tip: You can temporarily overpower the Sun by underexposing the natural light and placing your flash close to the subject. In effect, it makes the sky dark and properly exposes your subject.

Snowmass ski patrolman John Brennan keeps the slopes clear of debris during the summers. Nikon D1H, SB-80, f/22 @ 1/500th. Use your flash as the main source, the underexpose the sky by two stops to give your photos a dramatic look.

 

Ways to Use your Flash:

On Camera:

  • Main Light: Using the flash as your main light source. An example would be photographing a party at night.
  • Fill Flash:  Using the flash to fill in the shadows. Underexpose by 2 stops. Add Just enough light to bring out the shadow details. Having too much will be make your photo appear a bit unnatural.
  • Bounce: Using your surroundings to light your subject. Bouncing off the wall or ceiling helps soften the light. It acts like a huge soft box. You lose a lot of light in the process. Sometimes as much as 3 stops. This technique only works if you are reasonably close to walls and low ceilings.

TIP: Again, dial down your flash power when using on-camera as fill. You need just enough light to add details to the shadow areas.

TIP: Make sure the ceilings and walls are white or your color balance will be wrong. The light will pick up the color of the wall or ceiling.

Off Camera:

For more natural looks, or to be more creative, use your flash off camera. Using a bracket with your camera gives your photos a look like they were lit by a light source other than direct flash. It also eliminates the “red eye” that is caused by on-camera direct flash without using the annoying “red eye reduction” setting.

  • On a Bracket: This sets your flash off the main axis of the lens and helps reduce
  • Corded: Using a short cord allows you to achieve a more natural light. You can position the flash how you want, but you have limited flexibility.
  • Slave synced or non-corded: Setting your flash a distance from the camera and using another flash, or radio signal, to fire it. Good for a portable studio. They must be a within a reasonable distance and have the sensor pointed towards the main flash. Sometimes, depending on the gear, bright lights will cause malfunctions.

There are a multitude of devices from brackets to diffusers which one can explore and test. I’ve not tested but a few diffusers and bounce units. For the most part, the diffusers that have been supplied with the flash unit are sufficient for my photography.

However, in the next section Intro to Creative Flash Part 3: Using a Portable Studio, I use these same strobes with umbrellas and slaves to create some creatively lit portraits.

Challenge Aspen founder Amanda Boxtel in the equipment room. Amanda, who lost the use of her legs in a skiing accident, was sitting in a beam of sunlight and in order to get detail in the shadows, I used my portable flash.

Color Balance:

Portable flash units are color balanced towards daylight and as a result, when they are used in other than sunlight, you will get a color shift. Especially noticeable in tungsten and florescent lighting.

To make your workflow smoother and save you headaches in the editing process, use filters in the process of taking the photographs. Most flash units now come with two basic filters: one for tungsten (yellow or orange) and the other for florescent (green).

These are small gels that cover the flash head and change the color temperature of the flash. They are not perfect, so the colors may be off by a little, but they are so close as to be imperceptible.

My flashes, diffusers, and filters. An SB80DX (left), SB800 (right), SC-17 cord, and filters.

The issue with florescent lighting is that different manufacturers, different bulbs, and even the holders all have color temps that can vary by hundreds of degrees Kelvin. It’s difficult to truly color correct for florescent light. The Florescent Lighting System has information about the color temperature of these bulbs.

For the most part, the supplied gel will work fine for most situations involving these lights. Most photographers I know think they are the most hideous lights known to man. They can be very difficult to color balance, but not impossible.

It does take a little bit of practice to get into the habit of looking at the light, determining the type used, and placing the filter over the flash. One thing: don’t forget you placed a filter over you flash. If you do, you’ll be a little surprised when you download and edit.

There are a multitude of filters you can buy for your on camera flash. Rosco has a set of filters called Strobist. It is a set of 55 filters of various colors and strengths you can use to get a close color balance or have as a creative effect.

Lumiquest makes a holder that goes around your flash to hold small gels. The two work great in unison.

Dr. George Fallieras, M.D., in the trauma room at Aspen Valley Hospital. I used a cord to set the flash to the right as the PR person held it.

One of first things you must decide is whether you want your flash to be the main light or to use it as fill.

Once you decide that, Let your creative juices flow. Go out and have fun with it. Don’t be afraid to try new things. It’s better to try something new and fail. Take it as a learning lesson. You learn more from your mistakes than you will from your successes.

Again, don’t be intimidated by your flash unit. Go out and just have fun with it. Practicing with your flash is imperative. What you can do, how you can control it, and how these little unit work,  can improve your photography by giving you an extra tool in your bag.

Thank you for reading

Paul Conrad

Pablo Conrad Photography