Shoot: Rooftop, Flash in the Direct Sun


High School Senior Photography


Lesson Info

Shoot: Rooftop, Flash in the Direct Sun

Here we are on the rooftop here. Very harsh lighting conditions. There's no open shade, no place iran. Eso what do you do here now? Is this an ideal situation off course not this is not what I would normally walking too, but I am looking for a very specific shot here. I want a very artistic edit. I want a wide shot I want to pull in architecture and so I don't know if you can see here behind me, but what we have is the space needle off here in the distance and so we'll roll around here. We've got that space needle I want a nice blue sky behind my subject and of course I want her well lit and well exposed in her face. So in order to have that happen, I have to use off camera flash and I know there's a bunch you out there who have been doubting me thinking that we're not going to pull this off, so I'm gonna prove you wrong right now we're using to five eighties so let's, go over the equipment first. For those of you who have been wanting to learn about off camera flash, get your equipmen...

t right now I'm gonna give you the best tutorial of your life, you're going to get your camera set up, I'm at so low okay? And uh the one d s has the ability to go low if you cant goto lo gatto is a one hundred go as low as you can nikon cannon doesn't matter just go to your lowest iso setting now that you're there okay, I'm an aperture priority I'm going to be shooting e t t l which is elektronik through the lens mita ring that means the camera is determining the flash output I don't have to get manual no light meter none of that stuff that's how we're setting up so I've got three flashes I've gotta main here. Ok, which is just set let's talk about this for a second it's set up in master mode now you're gonna have to get your manual out to figure out what this is or just watch this again on replay but at the end of the day this one goes into master mode this is telling the other flash is what to do ok on top here we have a radio popper transmitter this allows you to shoot e t t l okay, high speed sink even out in this crazy light environment and so that's we want do we want to be able to shoot high speed sink through the lens and let it figure it out so I have to off camera flashes they're being held by an assistant those air set up okay um to help us balance out and overpower the sun a little little to get the dark blue sky now that being said those air set to slave mode so you've got to turn your cameras off in the slave mode okay, really easy to do it's usually one of two klicks within the menu again get your user manual so on camera we're in master mode off camera wherein slave mode using radio popper a cz the receiver on those flashes radio popper as thea transmitter here. John, come in here. I want to show these guys what we're looking at here so we've got here is we've got a radio popper five eighty okay, plugged into our five. Eighty okay, and then what we're powering these with are the cyclone battery packs and this is something that's already been given away. These are my favorite battery packs, real cost effective. They work, they're reliable and a super light to travel with so it's put those back there. Sorry, I don't need to be in your pocket now, here's where it all starts coming together on your camera the first thing you're going to do is expose for the sky remember we want that blue sky so we need to expose our camera to the blue sky, which means if I'm exposing for the sky my subject is going to go black. They're going to be dark silhouetted now how do we light up the subject? Are off camera flash exposes for the subject I'm gonna say it again camera is exposing for the sky the flash is exposing for the subject so right away I'm an aperture priority I'm dialing to minus one. I'm just going to take a test shot here, john, be my test subject, please. No flash guys. Uh, so what I'm doing here is I'm just gonna take a shot and exposed for the sky so john here is going to be black and we'll show this on screen for you. All right? So now you're looking at what I'm looking at if you see my settings, I'm at f fourteen I'm minus one on the exposure and I'm at one hundred twenty fifth second one one twenty five for the shutter speed so I'm below my two hundredth of a second that's allowing me tio make that flash work a little less hard. I don't want to go up two, two, fiftieth of a second eight hundred of a second eight thousands of a second we can do it, but that flash is gonna have to put out a lot more power to overcompensate that fast shutter speed, so what I've done is use my f stop gone upto at fourteen toe let in less light and now we're going to expose our flash at plus two okay so come on in here john I'm gonna turn on all my triggers take one more test shot here now on flash we already exposure plus two we see how that's kicking in emmanuel mon it's president mode there we go so on flash just press and hold it and they'll start flashing it again say it again there you go all right so on flash can you see this if I if I show this to the camera so on flash we are plus two okay slave mode all right and these two were firing so we're gonna go vertical so john let's get you set up over there what I want you to focus on is how john is holding these okay he's holding them vertically and he's a top pointing down so what he's doing is he's ensuring that this flashes firing straight down onto the subject so it's lighting her head her body her legs rather than just firing straight at her face we want a whole body to be eliminated all right so here's a little test shot for you guys here we go one two and look who's well exposed so now you'll see okay hopefully we're bringing the shot on screen side by side the first shot was fired without a flash we exposed for the sky second shot we turned on our two five eighties that's all we're using I don't have to have these big powerful strobes to overpower the sun boom lit him up he's even wearing a hat lit him up and now we've got a sky that we can see on our subjects lit up and so this is the only shot I care about right now guys so we're up on this roof I'm looking for one maybe two different shots and to me this is going to be that artistic panoramic shot where we've got the the tower in the background so that's ultimately what were look for here so with that being said, I'm sure we're going to start having tons of questions around this but I'm going to start let me take it for a couple of questions before I start shooting her I'm okay with that how we doing guys out there doing good? I have a question from hey jude who asked how do we know how far tohave the flash from the subject that's where that tl comes in the place the further you pull that flash away from your subject the harder that flash is gonna have to work to power so you you can see here by looking at john he's maybe a good five six feet away from the subject and so that's a good enough distance especially if you're shooting with a seventy, two hundred because by shooting with a seventy, two hundred aiken zooming past him and it's a non issue but he's five or six feet away the flashes that plus two and we're getting more than enough power uh, toe light our subject up cool and a question from laura is what about shooting back backlit subjects with no off camera flash? Would you still use aperture priority? I would still use aperture priority now in this particular situation he is backlit so he's backlit in this situation if I were to take this shot, as is an aperture priority, even if I go to manual mode, it doesn't matter to expose for his face that skye goes completely white so I don't want to shoot a white sky and blow out the entire sky. I want the blue sky you have to think about that creatively the minute you step up on this rooftop. So the minute I came into this lighting situation, I knew exactly what I was looking for and I was looking for just that I want tohave that blue sky can I get a white sky? Sure, but that defeats the entire purpose so artistically used the flash get that blue sky okay, I have a question from eric clayton photography who'd like to know well, a reflector give you the same outcome no reflektor this is an impossible shot for a reflector the reflector cannot push enough light into your subject overpower the sun now with that being said I mean remember what is it about two o'clock here to thirtieth year so we still got a pretty powerful son if you wanna wait till maybe six o'clock seven o'clock maybe maybe that flash or that reflector will work for you but right now there's no way possible you're going to do that like a and a question from a couple of folks roadie huh do you really need to flash is what if you just have one can you just use one? One won't work it's not you don't have enough power so that's what it comes down to you need a lot of power to overpower that son get that light back into remember we've got two lights here firing at plus two so they're overcompensating by two stops of light to get us enough light to power her up so that being said you can try one and get super close but the closer you get it's gonna be harder to light her whole body so you can make you can try your best to do it I've just been doing this long enough to know in a situation like this I'm gonna need two five eighties to make it happen all right okay, you want to do one more I'll take one more and then we're gonna we're gonna shoot out kendry we're gonna make we're gonna make magic here okay lets do that this is from mary from costa rica she asked if there's a sudden dramatic change in weather halfway through an outdoor shoot do you reschedule or just go with it and improvise I love that question yes we just go with it I've had situations where there were tornadoes rolling in and if you think I'm playing with fire when I'm standing in the middle of street you should see us when hard weather rolls into the st louis area we are we're out there with this dark sky imagine this this dark dramatic storm sky and now we're using off camera flash the light her up the sky just gets his gritty black I mean it's amazing don't fight the weatherman use work with what mother nature's given you and again all leads to that one word experience so uh let's get kendra out here let's start making this happen now just so you guys know out there I'm looking for one single shot here if I could get one shot of this whole rooftop experience I'm okay with it that's all I'm looking for and of course I'm looking to educate you guys on how to get it that off camera flash again I'm going to say it again for you on camera we're exposing for the sky so even though I'm shooting aperture priority I'm gonna go to minus one which is gonna give me a nice blue sky minus two if you have to you want that dark blue scott you're gonna allow your off camera flash toe to fire in and expose for the subject that's why we're firing it plus two so that's we're looking for here of course we want the space needle in the background and that's gonna make for a beautiful porch itself let's get set up here we're having some wind problems kendra I say why fighting I'm gonna have you stand look right into the wind there you go hands on the hips all right so let's do this let's get your necklace strength okay now give me this with your legs yes that's what I want out of your legs flipping floppies alright good arms look good hands look good let me see you what I want you to just do john he's come here so guys why I'm pulling this light here is to make it more directional I want directional light okay, so you're gonna come right up here firing down it hurt that's what I want good just this one's perfect this when you got be careful good all right, so what I've taught you already is how want within two or three test shots instead of getting out here with a light meter and everything like that you're able to get the shot you're looking for so here we go this is my first shot with her absolutely gorgeous I love what I'm seeing here let me zoom in here oh my goodness I can already tell how this is gonna look in postproduction absolutely amazing kendra let's make this work sister can somebody do me a favor and move this cord out from in front of me? Thank you so much, kendra get that hair off your shoulder in the front let me see that yeah, I love what you're doing chin down just a little here we go stay with it and notice everybody I'm using my seventy two hundred here red dot right on her face stay there with the kendra beautiful one too it's making sure I love it awesome. This is the look I want right now, guys. Kendra I want you to turtle for me a little bit, okay? Yeah, I'm looking to your left beautiful stay there with it loving that wind awesome. Now you're gonna have to slow down your shooting speed guys, make sure I got what I want. Alright now, kendra what I want you to do is looked to me and I know we gotta work with this wind so let's, I would like to get you looking straight at the camera john you're gonna have to rotate with her there you go right there okay give me your hips and that knee pop that yugo I love that ni love it here we go let me get a test shot yeah if you could that would be great working with that wind does it swing out awesome guys john I need you to kind of what I'm getting some split light on her I'm gonna have a pivot or had to you just a little but just you pivot this way just a little is well or your hand again everybody this is where it comes in handy having somebody work lights that understands lighting for you and I know everybody talks about now I put mom to work um the last anyone who's put mom to work on flashes when she doesn't understand what's going on with them and kendra let's get all your hair going this way love it let's work with that wind pivot it down john there you go way go kendra you're leaning too much get your head there you go or I'm leaning one of the other on your chin the camera this way I know you're fighting that win she's got to go this way too much back back back straight down that's where I need you here we go break in the wind beautiful hold that for me hold it. Okay sweet those bangs for me a little helicopter in the background we call the helicopter creative live did all right it's the last call that in making up for now let me shoot in the streets now this is because this roof is slanting a little this way I need you to tilt your head back this way a little bit yeah get normal let that need then there you go there you go legs look beautiful awesome there we go chin down god fix out here go ahead fixit hold it right there. Beautiful that's the expression I want out of you it's okay, chin down till that head there you are big smile now beautiful all right, let's see what we're getting okay, I'm really digging this guy so I'm hoping you're seeing some cool stuff I can see you're going to have questions immediately because we can see the person's arms in the shot holding the flash right but that's an easy one to fix there in the blue sky that's gonna take me two seconds to remove in postproduction so I'd rather have them closer to my subject. Okay, this is gonna add it really, really well. So what I want to have her do now is let's get her ballet shoes on let's take two minutes I'll take some questions um I'm hoping we're showing some pictures as well as we're talking right cesaire again we are perfect okay question from uh jenna st martin from oregon do you need the flash on the camera or where the two flashes held by the assistant be enough is the on camera flash doing much being so far away? The on camera flashes absolutely doing nothing it's turned off it is in master mode so let's, step back from this for a second. What this what's happening all in like micro nanoseconds is this camera's firing a pre flash? Okay, it's telling how much light I need to illuminate the subject that e t t l information is then going out to the remote flashes and then firing them and telling them, hey, fire plus two I could have this on but you are correct I'm too far away from the subject for this to work so this is actually off powers on but it's not firing a flash it's justin master mode acting as a little bit of ah using the media ring system so this comrade this flash right now is merely here from eatery so good there be liking the way those air looking the dramatic look off the image is absolutely as they are a question from notable focus I'm not sure if this is kind of exactly what you just answered but from idaho after you meet her for the sky do you then switch the camera to manual mode with the settings from the sky so that the settings don't change when you focus on the subject or does that matter? That won't matter so that's why I'm using exposure compensation so when I go to minus one that's what I'm using to expose for the sky when I say exposed to the sky I guess that could be a little tricky so let's talk about that for a second when I'm saying exposed to the sky don't mean get your light meter out exposed for the sky because you're right if you're using the meeting system that's gonna be off right there right cause that son might be hitting it off sixteen let's say what we're doing it's studies we're putting our subject out there shooting an aperture priority and then dialing back minus one minus to an exposure compensation till the sky visually on camera looks right here's what I've done kind of dummy proof this right? What I have on my staff not that my stuff they're not smart people or taylor's not a smart person ultimately they don't want to get caught up in all the media ring and all this other stuff my subjects I want to be able to go because you know I like to go to illegal locations where we're not supposed to be run in real quick do something get out of there so can you imagine if I'm like in a spot I'm not supposed again I'm like hold on be right firing a flash it's not gonna work so instead what I'm doing is this is kind of just idiot proofing it you get out there minus one minus two on your camera okay plus one plus two on your off camera flash ninety five percent of the time in less than sixty seconds you should be metered in for any lighting scenario I promise you get out there, try it and you will be amazed at how easy it is what we got, ladies all right, next question is from ga girl for you to envy what got girls for you to envy oh god girl for you and be nice that's a good license plate she'd like to know what what the board is for and then chelsea also asked if you'll be editing that out in post production yes, great questions so we are on a roof on the rooftop you cannot wear heels so that's why we had to put a board down there it's celeste again celeste is running the show here men, I have to make you the bad guy. No kidding. We can't be on that. We're not even supposed to be on the roof right? So here we are in the roof of one of the concessions we had to make was put aboard down so wear heels don't puncture the rooftop yes, that will be edited out in post production but now she's putting on ballet shoes so we're actually gonna remove that board so she doesn't repair shoes okay, so the board will still be there but we are going to edit that out in post production we have to because I don't think the parents want to see that board when they look at a final portrait so and if you'll notice some of the images that are coming up on screen you notice I'm laying down on the ground shooting up I'm trying to um minimize that board as much as possible in the shot by laying down for shooting down at that board I'm sorry she's taking one for the team I love it way to go kendra alright follow up question what else will you be taking outpost from this scene? Will you be taking a lot out or do you keep most of it in no I'm gonna keep most of them noticed that I don't have the you know the space needle coming out of the top of her head I've moved her where she's off center from the space needle, right? So I'm compositionally I'm trying to get what I want here I like the telephone poles I think that all lends to an urban environment that's what I'm going for so that will not be edited out the only thing that will get it out is where you see my assistant's hands and I'm okay without being in the shot because I know ultimately, uh that's got to go anyway and it's on a blue sky I mean, nothing could be easier to removing photoshopped them not that might take me no twenty seconds or less I'm okay without it, but if I got to spend forty minutes on a single image that's not good and a question from s h burn it is the person in o'fallon, illinois um does shooting up like this only works for slim girls? No, if we had, if we had a plus size girl, I could still pull this off. What I would do is and, uh, in this next shot, I'm going to do it anyway because I'm gonna switch lenses to my sixteen thirty five if you have a plus size girl and you're shooting up and she's leaning back that's just really creating this really bad angle. So what I like to do is when I'm laying on the ground shooting up, you'll find that I'll have them lean into the camera a little bit so but you do have to work with people's body weights body size is, uh, worst case I still don't want you shooting down, I see a lot of photographers deferring to shooting down on heavy subjects I understand that's very slimming but you we've gotta expand our portfolio here just a little bit or a repertoire if you will s oh there's other ways you compose them so you can get to the same level plane uh maybe you don't want to shoot up on a heavier subject but we don't have to shoot down all the time okay, so I would do this even with aa plus size model let's do it all right, so john I do need my new lines I need my sixteen thirty five uh I don't know what my bags here I'll switch my own lines I could do it. Okay, so for this one I'm gonna get a little closer tour, okay? And I might go back to my son my seventy two hundred, right? So what I'm gonna do first with her is I'm going to ensure that her post works for me so I want to make sure let's see the polls let's say we're gonna do let's remember we talked about yeah the pair weapon go with your hands up yes I love that let's do that and looking off towards the flash yeah that's fine you'll see the flash you'll see pop and then come down but I just want to see it first and then look off to your left yeah look right at that light boom that's what I want okay now just be careful but I don't want you to do is have too much of a serious look so you have to work that expression I know you're used to performing okay, so we have to get that that look all right, so I'm gonna get a test shot just looking at me john you ready? Ready here we go look, just look at me you don't have to go up let's make sure we like the way this is looking look at that gorgeous sun flare we're getting on the shot, okay? I love the way this is looking perfect. Thank you, john. All right, now I'm gonna lay down see if I like this even mohr tried again looking right at me I love the way this is looking ok let's make magic I want one shot here. Okay? My focus point is right on her. You go up when you're ready, okay? I know I didn't get it full on. Okay. Now, john, what I want you do and you and you did it. You have to keep your chin down for me, okay? Even though I know you want to look up remember, I'm down here on the ground so just chin down just a little bit, okay at the light yeah, I'm looking right at the light let's try this again, go for it gorgeous portrait I'm going to move here because when you go up you're sliding this way so I want to get that I don't want that space and you're coming out of your head okay go for it again see if you could hold out for me just a little bit longer sorry sister I wasn't ready that movie had take a half step this way for me there you go all right on your mark go beautiful now I'm starting to like the way this looks let me check this again okay that's dashing say what expression yeah let me look at your expression what happened on that one is we got hair in the back up in the air yeah your expressions pretty good I like it okay what? I'm not what I'm noticing and I'm no dancer by any means uh is your arms are going to straight up? I'm thinking they should be a little more rounded should they or what's the proper technique like rounded a little bit more for me yes that's why I'd like to see it so that may not be proper technique but I like the way it looks alright so whenever you're ready beautiful that might be what I'm looking for look at that great sun flare guys I'm gonna slide you a little bit to your left for me one more time okay way should be good to go hold tight right there make it dialed in all right on your mark go that's what I'm looking for that might actually be the one you make sure your foot's not talked away all right so what's happening a little bit john is because of the angle we're firing this flash down on her foot's not getting enough light so you may have to foot hold one up and one down for me yeah go horizontal yeah there you go. All right let's try again trial and error here guys go for it much better so uh, nico if you can show the before their last two frames uh you'll see what by making that change to the flash the eighty four forty six her feet are not lit up we changed the angle of flash eighty four forty seven her feet are lit up just by making that slight adjudged adjustment and everybody at home I hope you guys realize and understand this is real we didn't come up here and practice for four hours taking the shot we came up here we're spending a few minutes getting dialed in but I want to get the perfect portrait for her because this to me is her signature shot I'm going to spend a little bit more time here ah investing in this so let's nail this I feel good light looks good let's have some fun with this now go for it good give it to me again now do it with a smile good make sure I like these two zooming in here I love it okay let's do something different now so let's do it where you're looking right at me same post yeah same pose go for it that we got that hair in your face smile serious yeah let's just let's do serious first move a little bit to your left here you go can I can tell the hair looks like it's in your face so we have to be conscious of that talking my way and next guys I'm gonna switch to my seventy two hundred and we'll be done good one more time give me a good smile talk that can you talk that behind your ear yeah we could make that work and get that little stranger here out from under your neck here we go one more time go for it one more time sassy one more time move over this way there you go. You look like you're gonna fall the other way one more time. Okay, great job. I'm gonna switch to my seventy two hundred I want to get one more shot. Perfect. Thank you. All right, so now I'm gonna come back here and hopefully we're getting some good stuff guys it's hard for me to see on the back of my camera but I'm zooming in I'm just looking for one dramatic shot up here remember that's all I'm looking for here a four forty six looks like it might be a winner I think that might be the one that I'm looking at later eighty four forty six or forty seven so all right so we may have to do ah because it looks like forty seven you've got some hair on your face all right sweet those bangs for me again I'm gonna leave down here let me get a test shot john here we go one two perfect let's do that looking up towards that light wait beautiful one more time I want to fix that hair in your face I'm sorry kendra I know it's it's windy up here okay guys invested time with that hair even on a windy day god tried again hey how about crossing your ankles you just did some naturally yes can you hold that for me? Well that's beautiful yeah look to your left way just do that before what's that all right I got excited she's she's just holding go ahead look off in that wind I'm just watching beautiful good smile over there looking at me now gorgeous give me a different pose what else do you have? How about member we were talking about working with the dress well I got let's step this way a little bit let me see it way stay in place and do that okay move a little bit this way then right? They're beautiful and I want you looking back at that flash okay go for it try again what did you do with the other way yeah but I want you looking in the opposite direction looking that way yeah let me see it yeah I like that better switch sides yeah let's fire riding to her face yeah no no you gotta john sorry switch yeah, this way john you got move away a little bit further there you go. Come this way for me to go last try and we'll get this guy don't spend too much time on it take a step for me john get a little bit closer little bit closer right there go for it. Awesome okay let's do a different one. What else you got last one I can do leaping but that's action I really like where you're doing your legs crossed yes. What else can we do without his gorgeous stay with that here? Everything's words john switch sides quick, baby there you go look off hold that for me arms out straighter good smile I'm jealous I can't stand like that looking right at me awesome good job good job yeah rocket man it's really good so I'll show you these later, okay all right that's good, so let's take some q and a um I'm happy with what I got I can't wait to actually see it on a real computer screen but hopefully that made sense to everybody out there and how we do it how we're moving quickly to get the the lighting set up the way we want it and I hope everybody understands or believes that I'm not letting technology stand in the way ofthe creating the shot I'm looking for tomorrow you'll see how we aditi's okay I have a question from miss liz from moses lake washington um she would like to know if you will correct the distortion on her feet in postproduction or leave feet long when you're using the wide angle a little bit of both yeah a little bit of both um sometimes I like the way it makes them look elongated but I might take a certain picture where a parent you know where it looks really really goofy from the distortion I will fix that in post that's a super easy fix in postproduction so I've got to see it on a real screen but if it looks really weird I'm definitely gonna fix that because the clients not gonna like it but that's why we shot with seventy two hundred as well speaking of post folks were asking about the shadows was that part of the look you're a guy like you yes those shadows will absolutely stay remember she's being backlit so that light source is there what happens in portrait photography if you have a light source there and this goes to print calm by the way so what happened in print copies they're looking at this not that this is a print competent image or not but they'll look at that light source and then I'll say wait a minute she's gotta light source behind her where's the shadow in front of her it's not there so we have to be conscious of that high I'm going again look at this imposed but no I know off the top of my head I actually like that shadow it just lends to what we're doing up here and I like that sun flare I hope everybody enjoyed that is well bringing that into the shot okay um let's see here michael tolls photography from atlanta s sal uh just the cell try to get the senior signature shot in their scene like football in a stadium musician in the hall do you go take it to that length so that level yeah that's usually there to me that's their signature shot what I'm working on the entire shoot with these kids is getting them to a point where uh when they look at that final shot it is so representative off them uh that they're like I want this shot that twenty years from now okay, I hope that kendra remembers this moment remembers this experience and finds one of these shots that she absolutely falls in love with uh for her big day so I'm assuming there's got to be one here okay, so here we are right kendra's from seattle we're in seattle we got the space needle in the background she's in her dance outfit in this beautiful unique dress so I'm hoping that we can create this beautiful image for her that twenty years from now she looks at and still has fond memories how I hope when she goes to get married she flies me into to photograph our wedding that's the experience I hope she had today and tomorrow we'll talk to her tomorrow we're gonna talk to her her mom they're gonna come in for the sale session and just so you guys know this one shot I took I already know in my head how I want to edit this so tonight more than likely while everybody's relax and I'm probably back in my room and I'm to start messing with this one image and I'm seeing I'm telling you how I'm seen it already I'm seeing it with an hd our style editor uh I'm seeing it with some texture overlays on it that is my vision for the shot so well go step by step through that tomorrow fantastic so many questions coming through about see white balance again why balance auto white balance? We are shooting raw so I'm not gonna worry about white balance at this stage of the game that is one of the among many benefits of shooting wrong that's one of the biggest benefits I find in shooting rod is I don't have to worry about white balance and maybe that's me being lazy I don't care this is not where I need to be worried about y pounds go back ten fifteen, twenty years ago yeah I'd have to worry about it but today the cameras are set up suction shoot raw worry about why y pounds in post production okay, this is a question from shane abo as a young broke photographer how do I pass over the shoot and burn stage and go to a more professional business but without having equipment other than my camera and without money to pay for more quick it is uh that is in fact a tough balance so I'm gonna give you a couple of piece of pieces of advice when we first started out you know, I hope she watched the show yesterday if she didn't you know then she hasn't heard my story but if you heard my story back in two thousand seven um we almost went bankrupt we nearly lost everything we had we were sixty days away from losing everything and here's what I knew I knew I had to make that leap and create separation between me and the brand new shooter and in order to do that, I needed this kind of equipment, and I took my last dime. I promise you, from the bottom of my heart. I took my last time I had and invested it in some of the right equipment to do the job right, and I've never looked back since, so I know it's a scary time. I'm definitely not encouraging you to get a loan, I think loans or a bad move for your business. You don't want to create debt, but if you can't afford to buy it, and I definitely want you take along, what about renting it? Their solutions out there, like lens, proto, go go out their rent the equipment, and hopefully you'll make money from the sale side of it to offset the cost of rental att least as it is a interim step, you've got to get the right equipment to do the job, so I hope that helps.

Class Description

Join Sal Cincotta for his "take no prisoner" approach to the business of high school senior photography. In this photography business course, Sal digs into marketing plans, business plans, pricing, and packaging. Sal also shows how to create an ambassador program so that your kids are talking about you and advocating your business in their schools.

This business course also includes a series of live in-studio and on-location photo fashion shoots, showing you how to capture the most of-the-moment trends, poses, and backgrounds. Sal also covers why high school senior photography is at the core of every successful photography business. Seniors become brides and brides become long-term family clients.