Environmental Portrait Photography

Lesson 45 of 48

Importance of Website

 

Environmental Portrait Photography

Lesson 45 of 48

Importance of Website

 

Lesson Info

Importance of Website

Everybody has a website, for every possible purpose, and it is the first impression you're gonna have with a lot of people, whether they're people you're emailing and you have your email or you have your website linked in your signature. Or whether they are googling for a photographer in your area and they just happen to see your website. So, this is usually the first impression, and there's a lot of things to consider when designing your website, thinking who you're gonna use, selecting the images and all that. We'll talk a lot now about how to go about doing that. So, the main thing is to keep it image focused and simple. You're a photographer, you're not a writer, despite the fact you might wanna talk about your images like I do up here. People generally don't care. So, what I wanna do is present the images in easy format where it's image first. They go to my website they don't need to click anywhere all these images are just right there. People don't have time to be clicking around...

. Especially if you're bothering them to try and get them to look at your work. If I'm gonna email a photo editor at ESPN magazine, it's like hey check out this new work I shot, and they have to work to find it? They have other stuff to do, or a hundred other emails from a hundred other photographers that day, who might have a website that's easier to navigate. So, my thought is these people don't have a lot of time, you're already just by them clicking on your website, you're already ahead of the curve so don't make it any harder than it needs to be for them to see what you do. And with that said similar to your portfolio you wanna put either your new work, depending on how often you work, and your best work up front. Because that's what they're gonna see first. If they go to your website and the phone rings and it's just sitting on the screen, I don't want some less than stellar image somehow making it to the front, so there used to be some of those flash websites that you know would rotate your images and all that. And you couldn't really control it. I'm really glad that flash is no longer really a thing. We're on to websites where you can save things and view them on your phone and all that. So, you can control the order of your photos, so I'm always trying to make the strong images first, because again, similar to your portfolio, when they open up that first look and get that first impression that's instantly what they're gonna remember. So, consider your viewer, a lot of these people like I said are really busy. A lot of the people are viewing it on different screens too. Is your website mobile friendly? By this point most of the websites you know if you're going through a photo folio, or squarespace or something like that. They all have mobile applications that automatically make your website friendly to all different devices. So, you don't have to think about that as much, but what you do need to do is open your website on a phone. I know a lot of people edit their website on their iMac or their laptop or something, and they think oh it looks pretty good I'm done. And then I'll be like, have you ever looked at your website on a phone, I cannot figure out how to scroll. And they've never looked at it, they didn't realize that it was one of those ones where you had to click to go to the next image. You don't wanna have to do that it's too much work, so you know take time to open your website on your own devices and let it, give yourself some feedback. And also send it to your friends or family. I know my dad is pretty good at giving me critiques on everything, let alone my website. So, it's like hey I just launched this website. Aside from your commentary on the photos, does it work on your phone? So, I want opinions from people like that because they're not necessarily the most tech saavy 30 year old guy who's working on a magazine who's gonna do the thing. So, I want to work a lot of times when I'm sending out email promos those link to my website. A lot of people check their emails on their phone. So, I wanna make sure that my site looks good, from my phone, so again, consider your viewer, consider the constraints of time and things like that that they're gonna have. And think about what you want them to see, if they could only go to your website and see the opener. So, simple versus custom. There's all sorts of thoughts on this, if you have the budget there's some amazing custom websites. There's a photographer named Stephanie Geno, I don't know if that's how you pronounce her last name, but her website, I just stumbled upon it recently. It's like the coolest photo website I've ever seen. There's other ones that are really simple. If you just use something like square space they have these great layouts. Or in my case I use a photo folio, have you guys? Photo folio, it's the guy from a photo editor.com he created a website for, that makes websites for photographers. I use one of his websites and it works really well, it's so easy to customize. Everything is customizable as far as my logo, all the fonts, the image placements, spacing, all those type of things. If you just have a little bit of time. It took me a couple days to get everything how I want, but I was able to do it myself, and it's like $ a month or something like that. And I spend more money than that a week on coffee. So, when you think about that as an important part of your business it's definitely worth it. Again, some of those custom sites are amazing, buy you can pay 10, $15,000 for a fully custom website, and in two years you're probably sick of it and wanting another one. So, it's an investment that sometimes it's worth it, but I'm more of the simple straightforward route, of just letting the images speak for themselves. Navigation, again, consider your viewer. Navigation is really important, it should be clear. There shouldn't be a bunch of hidden drop down menus that you don't even know how to access. Or things that are hard to find. Even with your site titles, your navigational titles, mind you're gonna see my website here shortly, but keep it really simple so people know where to click, and they know how to get back to the homepage. If it's really hard to get around, or they don't know what they're clicking on, you're gonna lose their interest because they'll get frustrated or they won't even know what to do. And yet everybody could be patient and click around and figure it out I'm sure, but you have to realize that they won't be so, that's just one of the facts. So, you gotta make the navigation really easy, and consider that pretty highly when you're making your website. And lastly with your website, your image presentation. Are you gonna go with a site that's individually showing your images? Do you want thumbnails? Do you want to be full screen? Do you want to be left or right scroll? All of these are things to think about, and I don't know the right or wrong answers to these, but again just considering your viewer, knowing the format of your images, and how they best look. I personally have a website that goes to thumbnail, just because I want people to be able to see a whole lot of large images without scrolling around. You're gonna see my website now. We can actually switch over to my computer real quick, and I'll show you that, so you can kinda see what my website looks like. So, when you first go to my website, you see basically what it is I do in thumbnail version. And again this looks different on every screen. On my iMac, I have a 27 inch iMAC I edit on. It'll have six thumbnails across, and all of them are a different size. So, always looks different, but when you go to my website, you don't have to do any clicking to get an idea of what I do. All you gotta do is scroll, and you see the full I made the thumbnails almost as large as possible but so they're still three across on a normal size computer or laptop. And the main page is the overview. So, I always think this is important for all photographers, to have an overview, because if they never click on any of these other navigational items up here, they'll always know that, oh it looks like he does environmental portraits, there's some still life, landscape stuff in here, definitely always on location, not a lot of studio. Looks like lighting is pretty prevalent within the work. There's some guys, there's some girls, there's some older people, some younger people. Lotta color, no black and white. And that's kind of the story. Those are the key words, when people look at my website, and I've already rand this testing by people, it's like, name what you see here in ten words or three words or whatever so that I know that everything here is fitting the theme of my portfolio. And when I do new work it doesn't necessarily make it to the top left image here. This image is a couple years old, but it definitely is strong and it fits the area, and again, I can't control what device people are looking at it. So, they might see them in a slightly different order, as far as the thumbnails. But at the same time I can control which images are at the top, so I usually make it a combination of strong work and new work. So if you go to my website, in six weeks from now, at least it'll hopefully look different than it did today. Because that means people look at it, oh he did something new. Rather than if I buried that work lower in the website, they may not notice it, and I know I go to a lot of photographer's websites for inspiration, or because I'm slightly obsessed with some of their work. Or things like that, and I love it when I get there and there's new photos, it's like oh what's this? So, with that said after the overview I then divide up the work, so I have my overview, and then I have my portraits. So, this is pretty clear, it's just photos of people, and you'll notice when this page opens, it's actually gonna be a left to right scroll, with the option to click and make thumbnails. And this is because I wanna control the order of the photos, similar to my portfolio. So, I have newer work up front, and I have it balanced in a way that we have color, we have these blues. We have some closeups, some far away work. I want it to kind of be, it's all the same size photos, but it also has this narrative when you're looking through, that there's a theme, not all loaded yet. But I want it to kind of tell a little bit of the story. But if you don't wanna look at that, and you just wanna see the thumbnails, it's easy to get back to this view. It's one, any image you click on instantly goes back to this, so I set that up because it worked for me. I did everything from choosing the style of the tiling, the thumbnails, to even the spacing. And that's one thing cool about this photo folio stuff is that you can, if you wanted the scroll bar to be thicker over here on the right, you control the width of the scroll bar and the shape. So, all sorts of things, you can control every aspect of this site. And again, if you have the time to put in it's great. So, I have those, you'll also see I might have a couple shots from similar shoots, but I don't really repeat photos from the over view to the portraits. There's a different shot of this guy in the other one, so I wanna keep a theme, but I don't wanna repeat a lot of photos. There might be one or two in there just because they're strong enough where I want it to be something that's familiar. I know that's same thing here goes to the scroll, but then it's all a bunch of landscapes, and these are photos that only one of these is on the main page, all the rest of them are new. And yeah some of them go, like I didn't even know that would happen, that it would get huge like that. But it does on this computer. So, it's just a matter of having all that work. And then the last thing I do that's totally different, is I have these stories. So, this is where you click and it does a bit of a drop down. All of a sudden you have options, you can look at all the pictures from a different. So these are if I want to put multiple pictures together from one shoot. So, for instance the turkey call maker. You have seen him a couple times, and we talked about that story, you even saw the email from the shoot. So, this is the portrait they used in the magazine. They wanted all these detail shots, if you remember looking at the brief for that. Of how to make these turkeys calls. So, these were accompanied by text. So, I wanted to show the entire shoot, along with the portraits and the details, just to show the range of what we got. If you look at the Buffalo Bill rodeo it's a whole nother series, this is a series of portraits of these bull riders that you saw displayed differently. Oh this is one of the collages in my portfolio. It's all these images together, I remember now. So there's all these in a row, where it's definitely a theme or you can look at it in thumbnail version, and it'll look a little more how it did on the slideshow. So, it's definitely a theme, but it's not strong enough that I want to put it in the portraits. I want it to kind of have it's own story. And there's multiple of these. There's pheasant hunting, turkey call maker, lift climber. Oh, here's the sawmill guy you've seen him. His portraits on the main page. But I wanted to put it in this format too, so we could tell the entire story with all the images, in one place. That's when I drove by everyday and wanted to photograph. I was like that place just needs some pictures. So, it's a mix of that entire story in one area. And then of course your contact info. There's some photographers who don't really have contact info on their website, which I think is crazy. Just to show that I have a sense of humor I put my baby picture where I was a bit of a chunk. I have a quick little bit about me, that kind of summarizes my personality in one paragraph. I have my contact info, clearly displayed. You'll see at the bottom no matter what page in my website there's a clickable link to my Instagram. So this is in the footer of every single page, so you can easily get to my social media. And then a partial list of the clients that I work for. So, it just gives me a little bit of credibility. It's a quick note about me, a funny photo that almost everybody who views my website comments on, so I leave it up there. And yeah you'll notice if you go to the bottom, there's my Instagram link again on the main page. So, my website is super simple. There's tons of different versions that are great for everybody, but this something I can easily update. The back end of their software is really great. So, to open, to get there, to get to the backend of my website, we'll just do it really quick. All I have to do is type in admin, slash admin at the back. So, when you go up here, under admin my site looks the exact same but there's this little drop down menu, and here I can, you can build PDF's to send to clients of images, your media library. There's different design, you can easily change your website. If you wanna add new images you just go to media library, hit add and it'll instantly take you to a finder window, you can drop pictures from your desktop in there, and they just appear here. So these are all images that are alternates, and then you'll see over here you have your website menu. So, that's my overview, so check this out, here's the order of those thumbnails as you just viewed them directly, and you can move this window, anywhere. So, those are all the images that are right here, you can click and drag to reorder them. It's that easy, so that's why I like this type of website, Again, they're not one of my sponsors or anything, I just really like their website. And I've had a couple square space sites that were awesome as well, I just like this because of the ease of use, and knowing that the guy who created this is the former editor of a magazine. It's all photography based so it's pretty straightforward. So, that's my website in a nutshell, and everybody needs a website, whatever is right for you is totally up to you, but those are my thoughts on why my website is the way it is, it's pretty well thought out, and it works pretty well so far, and I haven't had any complaints. Yeah any questions about website? Yeah, my question is about your another website, because I know you're a senior photographer too. Yeah, so I have other parts of my photo business and my other website's a square space site. But this the same name, how would you do it? No a different name. Yeah so I keep everything separate, because I have different clients for different reasons. I have local clients in Omaha. I also teach like I'm on creative live, I do some workshops, so I keep everything separate, because again, knowing my viewer, if I have a photo editor of a magazine viewing this, I don't wanna clutter up the navigation with all sorts of stuff. Similar to my portfolio I want them to go to my website, and know oh he shoots some environmental portraits, and landscape stuff in a similar style. I don't want them clicking around getting confused and not knowing what I do. So, if you do, let's say you're a wedding photographer, and you also wanna do commercial work. I would highly suggest keeping those websites separate because that'll just start to confuse your viewer whether it's the bride you're trying to get to hire you, or the commercial client. Because I don't want them getting you know, again I don't want to be that jack of all trades. Whether or not you do that work we all have to make a living, so I have all my education stuff on one website, with the, like I'll put all my creative live stuff, and the links to the videos on one website, but then I'll keep this website strictly for my commercial work and all these environmental portraits. So, yeah that's a great question. Yeah but your brand is your name. No the other one's not my name, because of this. My last name's really hard to spell, and I'm not from Omaha, I grew up in Iowa, I moved to New york city, and then when I moved to Omaha, I thought I want a name that's more easily google-able. So, I just came up with another name that directs all those local people who know me. Whether it's local corporate clients, I do a lot of head shots and things like that for local law firms. Again that website has all those head shots, but they wouldn't really fit on here, because they're a little more, I dunno, they're not quite as exciting as these portraits. So, I wanna keep all that work<, plus I also wanna keep a name where they can find it on google. And all the SEO data is different, you know, it says like head shots and corporate photography and all that. So, that's why I keep them completely separate. And then the other thing is, at my other photography business, I've had to hire other photographers to cover some of that work at some point. Or if I'm shooting a wedding and you have a second photographer, sometimes I don't want it necessarily associated purely with my name in case you can't cover that job, it can be more of a business that has these photographers available. So, there's all sorts of different reasons, but those are my reasons for keeping everything separate. And then it keeps me fully associated with this, as far as the commercial work goes, and the editorial, where all the other stuff whether it's education or the other portraits, or weddings or anything like that is on a totally different website, so I can keep the two bodies of work separate. There's even separate Instagram pages and things like that, and separate emails. And I even have a google voice number so the phone numbers aren't even the same. Because I like to keep it all separate, and then if I decide not to do something later, it's pretty easy to get rid of it. If I don't wanna do it, hopefully the goal is to get large enough commercial work that I don't have to do any of that stuff, but at the same time for now, I do have to make a living, and I love working as a photographer so I like to keep all those things coming and keep those jobs coming. But I like to separate them as far as how I handle them. Yes, that's a great question though, because a lot of people do that. I know a lot of wedding photographers especially who have taken workshops or emailed me and said, I wanna do more of the commercial stuff but how do I do it? And I say well first off separate it, because you don't want the commercial clients, they don't want to see all the wedding stuff. Everybody knows wedding photography and some of it's really amazing but that the same time it just doesn't mix well with the commercial stuff. So, just a totally different look and a totally different client.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently create environmental portraits
  • Light any portrait, indoors or outdoors
  • Compose strong environmental portraits
  • Cull and polish high-end images in post
  • Develop a portfolio and marketing tactics

ABOUT DAN’S CLASS:

Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.

In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.

Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.

WHO THIS CLASS IS FOR:

  • Budding portrait photographers
  • On-location portrait photographers
  • Photographers eager to learn on-location lighting
  • Photographers branching into commercial and editorial work


SOFTWARE USED:

Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018

ABOUT YOUR INSTRUCTOR:

Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.

Lessons

  1. Class Introduction

    Jump into environmental portraits with an overview of the class. Prep for the class with an overview in this lesson.

  2. Introduction to The Environmental Portrait

    What is an environmental portrait? Environmental portraits tell a story using a single image. Gain insight into the genre in this lesson.

  3. Environmental Portrait Purpose

    Why shoot environmental portraits? Environmental portraits encompass history, story, and personality -- and they are more interesting than plain backgrounds.

  4. Personal Work

    Personal work conveys your unique passion for photography. In this lesson, Dan discusses using personal work -- even for photographers with paying clients -- to avoid burnout and stay true to your passion.

  5. Find Your Process

    Every photographer's workflow may feel a little different. Start finding your own process by brainstorming, planning out personal shoots, scouting locations and more.

  6. Tethering

    Tethering allows your camera to instantly talk to your computer for review during the shoot. In this lesson, learn how tethering can boost your workflow and can help you easily pre-process your images during the shoot.

  7. Purpose For Action Editorial

    Ahead of the live shoot, walk through the purpose of the action editorial shoot in the photo studio. Learn why studio-like shoots are often a requirement.

  8. Prepare for Shoot

    Preparation is key to successful environmental portraits. Master what's essential to the planning process and learn how Dan prepared for the upcoming live shoot.

  9. Action Editorial Process

    Dive into the workflow for an action editorial shoot. Walk through Dan's process for this type of image, from working with the client to delivering the photos and invoicing. Read through an actual editorial assignment from a real magazine and learn how those details spark the planning process, including preparing the dramatic effects from studio lighting.

  10. Set Up Action Editorial Shoot

    Set up for the live shoot, beginning with the tethering software. Go behind the scenes as Dan sets up lights and explains the gear and his vision for the shoot. Work with studio lighting placement, including angles and the height of the light stand. Control strobe lighting with different angles and modifiers.

  11. Shoot: Action Editorial With Athlete

    Begin the live shoot with a test shot to adjust the studio lighting and camera settings. Here, Dan shares his camera settings, like the 1/200 shutter speed and a white balance of around 5500K, then works with the "first layer" of lighting with the key light. Add fill light using a strobe modified with a silver umbrella and an accent rim light. Then, move into action shots.

  12. Studio Portrait Shoot Overview

    Take a brief break from the live shoot and learn why studio shoots are often included to supplement the environmental portraits. Gain an overview of the process before heading back into live shooting.

  13. Shoot: Athletic Studio Portrait

    Set-up the studio portrait using strobe lighting and V-flats with a bright white background. Learn how to manipulate the light to brighten the background without spilling over to the subject using side lighting and "cheats" with V-flats.

  14. Shoot: Manipulate Light to Mimic The Sun

    With the right modifiers and light source, you can mimic natural light with studio lighting. Learn how to create hard light to mimic the sun in the studio.

  15. Shoot: Change Background Color With Light

    Using the same white background, learn how to manipulate the color of the background with light. Remove the lights to create a gray background. Work with several different studio lighting set-ups to manipulate the background color.

  16. Shoot: Create Soft Light with Umbrella

    After working with hard light, work with soft light by using a black and white umbrella with a diffusion sock to light the subject. Set-up the side light to feather on the subject without falling onto the background.

  17. Shoot: Create Intentional Shadows

    Working with studio photography lighting is just as much about the shadows as it is the light. Learn how to create intentional shadows using studio equipment.

  18. Shoot: Action Shots In Studio

    Go behind-the-scenes for studio action shots. Watch as Dan works with a handheld light without a light stand to replicate the look of on-camera flash.

  19. Review Images in Capture One

    Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.

  20. Raw Processing

    Move into post-processing by working with the RAW files. Pre-processing with tethering offers a jump start -- learn the process of fine-tuning RAWs and organizing files.

  21. File Handling

    Organizing files helps streamline the process and make invoicing easier. In this lesson, Dan shares his process for sharing and organizing digital images.

  22. Retouching & Color Overview

    Strategize for post-processing in this overview lesson. Learn Dan's process for editing, including finding your style, and working with color.

  23. Retouch Images in Capture One

    Work inside Capture One to perfect the RAW files from the live shoot. Find tricks and tips to working in Capture One, working with exposure, contrast, and basic color temperature.

  24. Retouch Images in Photoshop

    Moving into Adobe Photoshop, remove distracting elements like stray hairs and acne. Work with the patch tool and clone tool to clean up images in Photoshop.

  25. Retouch Images With Presets

    Work with cropping inside Adobe Photoshop. Then, move into Alien Skin to work with presets to work with different colors and dramatic effects. Work with film-inspired presets, then learn how to fine-tune the effect.

  26. Advertising Vs. Editorial

    Editorial work and advertising work have several distinct characteristics. Learn the difference between the two and how to please both types of clients.

  27. Indoor Location Shoot

    Move into the second shoot of the class with an indoor shoot on location. Gain an overview of the goals and process for the shoot.

  28. Indoor Location Shoot Process

    Prepare for the shoot with tips on the process of the environmental portraiture. Work with a checklist and a shot list, then jump into the first in a series of behind-the-scenes videos in an artist's studio.

  29. Get to Know Your Subject

    Understanding your subject helps create unique, authentic images. Learn how to collaborate with the subject. Find the essentials to quickly getting to know the subject.

  30. Test & Frame Your Shot

    With a shot list and understanding the subject, Dan then moves into analyzing the location and the natural light or ambient light that's already in the space. Work with testing the light and framing the composition.

  31. Create Natural Light

    Placing lights where they'd naturally be in the space helps create flattering, dramatic lighting that doesn't look terribly out of place. Work in the shooting space with initial lighting and start shooting.

  32. Natural Light & Alternate Light

    Every portrait doesn't need studio equipment lighting -- work with natural lighting and window light. Alternate lighting can build variety into your environmental portraits.

  33. How to Shoot Indoor Location Portrait

    Along with action-based environmental portraits, a more formal, looking-at-the-camera shot is often part of each shoot. Work with shooting portraits on location, from setting up the studio lighting to composing and getting the shot.

  34. Indoor Shoot Results

    Review the results from the indoor shoot in this lesson. Dan explains everything that went into the shot and why he made some of the decisions that he did.

  35. Outdoor Location Shoot Goals

    In the third shoot of the class, head out to a location with natural light inside a garage and outdoors. Learn how Dan prepared for the session and the goals for the shoot.

  36. Indoor/Outdoor Light Setup

    Work with outdoor and semi-outdoor locations by tackling the lighting. After scouting and settling on a narrative, work with studio lighting tools to create dramatic effects. Go behind-the-scenes for the three light set-up using artificial lighting.

  37. Studio Light On Location

    Mix the natural light with the ambient light in this shoot outside the garage, continuing the third project of the class. Learn why you might use artificial lighting outside and how to mix the sunlight and a studio light kit.

  38. Create Location Portrait

    Work with the location portrait from the third shoot of the class. Learn how to spot locations for the more formal portrait and work with graphic compositions and more dramatic light.

  39. Outdoor Shoot Results

    Take a look at the results from the final shoot. In this lesson, Dan shares his thought process behind creating each shot and why he made the lighting and composition decisions that he did.

  40. Post Processing Overview

    Make a plan to polish the images from the second and third shoots. In this lesson, get an overview of the editing process before jumping into the post-processing.

  41. Choose Selects & Sort Images From Indoor Shoot

    Cull the images from the artist's studio and the garage inside Capture One. Review the images and go through the process of choosing what photos to edit and deliver.

  42. Edit Raw Images from Indoor Shoot

    Learn how to polish those indoor shots inside Capture One. Work with exposure, contrast, and color with the shots from the artist's studio.

  43. Finish Images in Photoshop & Alien Skin

    Work inside Photoshop to remove scuffs and scrapes on the walls and other clean-up tasks. Then, work with files in Alein Skin to color using presets.

  44. Portfolio Management

    Moving into the portfolio and marketing segment, gain insight into building a strong portfolio. Dan shares tips on building a portfolio, from what order to use to choosing what images to include.

  45. Importance of Website

    Websites serve as a first impression of your work. In this lesson, learn the dos and don'ts to building a photography website, like focusing on images and simplifying navigation.

  46. Marketing 101

    Your portfolio doesn't do much good if no one is actually laying eyes on it. Develop strategies to get your work in front of potential clients for editorial and commercial work.

  47. What About Reps?

    Reps work with the numbers while you focus on the photography. Learn the basic pros and cons to working with representatives or agents.

  48. Bring it All Together

    Wrap up the course with a final chat on environmental portrait photography. Once you've built a successful business, remember to take the time to get back to your roots and shoot for yourself.

Reviews

Julie V
 

I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!

a Creativelive Student
 

I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.

Tim Hufnagl
 

to the point, worth every cent. dan is an excellent yet humble photographer not holding back any information on how he achieves is style. also i did not now, that first officer will t. riker was not only serving starfleet, but is an excellent photographer! ;-)