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Environmental Portrait Photography

Lesson 46 of 48

Marketing 101


Environmental Portrait Photography

Lesson 46 of 48

Marketing 101


Lesson Info

Marketing 101

And we're going to talk about marketing. So, we've gone over the portfolio, we've gone over the website, those are kind of your key outlets to putting your work out there. The next thing is marketing and it's 101 because I'm not a 500 level teacher here, I only know a little bit about marketing and what works for me. So, you need people to know you exist. That's the only way to get hired. If you create all this great work and it's in a vacuum, no one's gonna be able to hire you because they've never seen it. So, getting yourself out there, get eyeballs on your work. Whether this means going to portfolio reviews, whether this means calling up all the local ad agencies in your area and asking for a sit down, I just did this, recently I went to an ad agency I've been wanting to meet with, I brought in a dozen really good doughnuts, brought my portfolio, I called them up and I said I'd love to come in and meet, you know, your photo team, whether it's the art producers, the art directors, ...

creative directors, anybody like that and the guy I spoke with said great, how about 9:30 next Wednesday? So, Wednesday morning, I thought all right, well, they're taking the time to bring me into their place, I'm gonna bring them a dozen doughnuts, I even left my dog in the car and one of the girl's at the agency said, I follow you on Instagram, where's that puppy? And he happened to be in the car so that was a bonus so I got to bring him in but getting those eyeballs on the work, so forcing, you know, forcing myself to get out there and I call ad agencies all the time and I'm always suggesting, or not call but email, it's kind of frowned upon. Cold calling used to be more of a thing, now it's kind of more annoying. I feel like when people answer the phone and they're not expecting you to be calling, it's kind of a turnoff so, I was just email and let them know what I'm trying to do. A lot of times you'll never hear back but I feel like that's just business, I'll wait a couple weeks and I'll send a slightly similarly worded email and suggest the same thing and eventually usually you'll get in the door. The other thing I'll do is I'll send out actual print promos whether they're single postcards or a little more elaborate type print outs, it's kind of a miniature version of your portfolio. You can get lists through companies like Agency Access and things like that that have lists of all the people that work at ad agencies all over the world, really, it's just a matter of how much you wanna pay and you can really change the search you're doing to navigate it down, to narrow it down, to who you wanna work with. Let's say you're looking for ad agencies in Texas who specialize in, you know, business, computers, electronics and that stuff, these are all boxes you can check when searching through a site like Agency Access and it'll give you all the names and companies of ad agencies that work with those companies and it's something, it's not the cheapest thing in the world but its a great way to get information. I think there's another one called like Keenie List or something like that. Kind of an odd name but worth Googling. And they do a similar type of list and there's probably other ones out there but I've used Agency Access before. I don't currently use it but I used that to make my email list and know how to reach out to people and get meetings and things like that. So, getting those eyeballs on your work, that's important. The next thing is, portfolio reviews, meetings, and promos. We pretty much just talked about that, so, not much need to go into that any further. And another thing a lot of photographers do is you get meetings out of town and usually there's a sense of urgency there that really helps you finish your portfolio as we were talking before about finishing up your book. I'll plan a trip to Portland and I'll know, okay, I'm going to Portland on June 1st, I'm going to set up, three weeks before, I'm gonna email all these ad agencies and I'm just gonna go for two nights and it's gonna be fully a business trip and I'm gonna see how many meetings I can get with different ad agencies or people I wanna work with in Portland or maybe it's Detroit or maybe it's Austin, Texas. These places that have advertising firms and you can go do the same thing, bring them some doughnuts, bring them coffee, take them out to lunch, maybe offer to go for drinks at night, so they can get to know you because I feel like a lot of the challenge, there's so many photographers out there that create great work. The separation in actually getting the work is having the personality to work with somebody. I know I've worked on a few jobs, whether it was my own job or working with Victoria Will on a couple jobs where we've had some where the photos were definitely secondary to the fact that they were gonna have to work with you for 10 days and they wanted to make sure that you were someone that was cooperative, collaborative, not gonna have an ego, not gonna be a pain, just do the work, get it done, and a lot of times they see so many great photos on the internet everyday but being able to put a face to those photos and have a personality that they think oh yeah, this guy's pretty cool, I wanna work with him or I wanna work with her is great so that's why meetings are important because you can get in front of people, let them see your personality, let them know what it is you have to offer in addition to the work. So, it's all about finding that right fit and not everybody, you know, just like we don't get along with everybody we meet on the street, not everybody's a good fit. You might think you love the work added to you but you might meet with them and think oh yeah, I don't really like how he said that or how she acted or anything like that so sometimes it's like eh, I'm not gonna pursue that right now but the other thing with the ad world is there's a lot of turnover, people are constantly moving from one agency to another, so I always follow back and that's why it's also important to keep up on those email lists because a lot of times I'll send out an email, I think I have 5,000 people on my list over the years. I'll send out an email six weeks from now and I'll have 80 people bounce their emails and it's because 80 of those 5,000 in the next six weeks will get a new job and their email will no longer be relevant, so, it's always important to kind of follow. LinkedIn's pretty good for that to kind of pay attention to where people go. I have certain names that I've definitely target based on the type of work they create. It feels like they hire photographers who do similar things to me and I know that just by looking at campaigns they worked on in the past. A lot of art directors have their own websites outside of their agency because a lot of them will go freelance for a little while if they're in between jobs and they like to show, hey, I did all the art direction on this campaign or that campaign so when I can see on LinkedIn an art director or a creative director who has a website, I always check it out and think oh, they look like someone who would hire me, I'm gonna go follow them on Instagram and hopefully they follow me back and all of a sudden I'm on their radar. So, again, it's all about getting the eyeballs on your work because, without that, it's impossible to get hired. And the last thing is the email promos. If we could switch back over to my computer one last time, I'm gonna show you a sample of one of my email promos. So, again, I said I send these out every, eh, it's kind of, it's basically every other month. So, this is kind of a crude screenshot of an email. You'll see I do two and some people I'm sure you'll get some comments about this, I do two different versions of an email. I send every email out twice. This can be spammy by some people but I changed it up enough that I've never had a complaint so this is just what I do. This was my email that I sent out in December. It was kind of an end of the year recap of all the photos and the shoots I had that year. So, again, this was, where it says test, take that out 'cause this was the subject heading. 92 photo shoots, 44 flights, one new website. Countless beers. So it gives a little bit into my personality. I love going to breweries when I'm on these shoots and doing that. So, all of this is clickable and links back to my website. It's just a few of the photos from the year. Kind of in a story format. It's a little bit about it. 2017 was another busy year. Blah, blah, blah. Tells a little bit about how I launched a new website, a couple of the clients I worked with, all my contact information and direct links to my social media, a few more photos from the year. Again, they're all clickable directly back to my website. And that's it. So, it's simple. It loads pretty quickly, they're all low-res images, they're like 900 pixels wide at 72 DPI, and that's all set up through MailChimp. So, MailChimp is a mass emailing service. You can make an account. It's actually free until you get 2,000 contacts, so it's pretty sweet. Unfortunately, I have 5,000 contacts so I have to pay $50 dollars a month but it's well worth it for me because the most, the vast majority of the jobs I get are through email, so I'm sending out these emailers, like I said, every, we'll say every eight to 10 weeks and that's what keeps me on schedule to keep creating new work and going out there. So again, it's my logo that matches my website, my portfolio, so it has some sort of cohesive elements, images, usually I don't put this, this was an end of the year review. Usually I'll put like two images then the text and then one more image below to keep it a little more simple but like I said, this was kind of my favorite work from the year. Then what I do, what people sometimes frown upon, is through MailChimp you can view who opened all those emails, who clicked on the links and all that. So, I wait approximately three weeks until that email cycled through, the people who were gonna open it, open it, the people who weren't, it's not probably in their trash somewhere. I change up the subject heading and I change it from 92 photos, something that's less funny like this, and more like Year End Review of Commercial and Editorial Photography, something that's more straight forward and gonna get the business minded people and then I change up this text to be more business minded as well and what you can do is you can actually go in, open up the list of all the people who didn't open your previous email, and resend it. So, I know none of those eyeballs hit these photos but I really want them to, so let's say I send it out to 5,000 people, generally I get about 30% of the people open an email. Well then I take the other 70% that didn't open it and I send it all to them with some new content as far as text goes and I'll usually get about 15% of those people who open it. So, again, it's, now your overall open rate's probably like 38% or 40% when it all comes down to it but that's pretty good. I never had any complaints. I know I've read mixed articles on, I feel like if you do a, you know, if you're selling something or something like that, it's kind of frowned upon and a lot of times they, and this is just from email etiquette. Again, I'm not a professional emailer, I just send these out to people, so, I've never heard anything back from anybody but that's what I do to get maximum eyeballs on my email promos. It works for me. Some people might not like it but that's okay, you don't have to do it. So, with that said, that's just a sample of one of my email promos. If you have any questions about that, I made the layout myself within MailChimp, it's super easy, you just kind of make a grid and you say I want text here, I want photo here, whatever you want. It suggests the maximum size so I just crop them in Photoshop and drop them in. Pretty easy to do, pretty easy to make, and really easy to send. You can make them all on two o'clock in the afternoon in one day and schedule them. So, I'll make, what's today? Thursday afternoon I'll make my emails and I'll say I want these to go out next Tuesday at 10 a.m. And then I make it when I have time. I just sit there and then all of a sudden they send you an email. Your campaign just went out. So, it's like oh yeah, I should check and make sure everything's good and I always send a test email to myself beforehand to make sure everything looks good 'cause I'm very good at leaving typos or just forgetting to update the subject heading or things like that so always send a test, I usually send one to myself and a couple other people whose opinion I trust and they'll give me some feedback. Question while we're still on the website, do you have any kind of ability for people to sign up for your email? Yes, yes. So, there's two ways to do that. You can either make a form through your website for them to sign up, whether it's a prompt that pops up when you get to it. All of my emails came from previous, working with different email companies where they have, you know, you pay and you can download the list. Also, tons of my emails come from going to those meetings. I bring a little sign in card for all the people at the meeting to give me their email or their business cards and then I manually type them in so I think, I wanna say it was last year in October, I had so many business cards from portfolio reviews and meetings that I probably manually typed in 500 new emails directly from these people. Of course, you know, you have to ask them if it's okay to be on your list and you want them to opt in and things like that. You can't just randomly go take emails and put them on your, well, you can but you'll get flagged for spam and it's frowned upon. So, all these emails are from legitimate sites and things like that and this is a list that's been compiled over 11 years, so, again, most of those people probably don't even work at the original destination but, at the same time, the emails just automatically remove themselves when they bounce from MailChimp, so it's pretty handy, you don't have to go through there and filter but I'll look at whose emails did bounce and then that's when I'll get on LinkedIn and see where they work now and maybe I'll shoot them a message and say hey, congrats on the new job, mind if I add your new email or get your new email to the list? And, again, this is 80% of the work we do as commercial photographers is not taking picture, it's doing stuff like that. So, trying to get work. It's unfortunate but that's just the truth. So, yeah, having an opt in. You could have something on your website that lets them opt in to a newsletter, all sorts of things like that that automatically pop up and I've seen some pretty funny ones and some ones that are a little bit annoying where they kind of bombard you the minute they get to their website but they're probably effective because sometimes other people even offer deals, I've seen people who also teach offer discounts and things like that, you know. You could go to the website for like J. Crew and it's like 10% off your first order if you put in your email, so, there's still type of things, it's a little hard to do that as a commercial photographer but there's definitely ways to get emails and compile your list. And let's quickly talk about social media. I like to keep social media pretty basic because it is a time suck. As we all know, getting on social media, you get on there to look up one thing, 20 minutes later, you forgot why you got on there, and you're looking at a picture of a cat jumping in a hula hoop or something. Who knows. Those are the things that happen when you get on Facebook and you thought you had a direction. So, I don't really do Facebook that much anymore, I don't really do, I do Twitter only to basically read the news and I got rid of some of the other forms of social media over the years, so, for me being a photographer, I picked a photo based medium and that is the social media of Instagram. So, I post all my new work on there, my following, the people I follow on Instagram are generally people who I want to hire me and some photographers who inspire me but I keep it all photo based. I know I look at some of my friends like my sister-in-law's Instagram and she follows like eight jillion things and they're all memes which she forwards to me and I do appreciate that but I don't have time to sort through and look all that stuff. It's hard enough if I ever do get on Facebook, that's what you're bombarded with, so, that's why I like to use Instagram. I kind of have a curated feed of what I look at and at the same time, when I first got Instagram, it was, you know, sloppy photos of oh, look, we're out to dinner, we're doing this. Well, that's what the stories are for now. You can post all that stuff, it disappears in 24 hours, it's a good way to stay relevant and stay on people's radars. I know, if I follow, I follow about 400 people on Instagram and a couple times just out of curiosity, I counted how many people of those had an active story and it was something like 50. So, that shows me that not a lot of people use that stories feature so one of my strategies, using Instagram, and I actually don't have a live story right now which is ironic is I always try and keep something, you know, yesterday I made a post from here, I don't want one of those stories that looks like it has 70 dashes across the top and it takes forever to get through. I just wanna make something that has one or two clicks that shows what I'm up to, makes it look like I'm busy, shows a couple pictures of my dog. Things that people get a little peak behind the curtain as to what's going on in my life whether it's photographically or personal because that's one of the things I've noticed if only 15% of people are actually using stories consistently, I always get on Instagram and then I click on those stories and I'm like (humming) and it's always the same people but I feel like I kind of know them even if I don't so I think well, they're on my radar, I know exactly what people's living rooms look like who I've never met, just because of that, I wouldn't mind having, just staying on their radar. If nothing else, when my name pops in their inbox with an email promo, it matches up with what they saw on Instagram Story, so it's like, Dan, I recognize that last name, I don't know why, but I'll open this email. So, it's just kind of these thoughts that, you know, aren't really concrete but it's just a chance for my name to pop up more times and that's, again, why my commercial photography is Dan Brouillette Photography because that's what my social media is, that's what my emails come up as and I feel like having that consistency among all your brands is important too whether it's your Instagram handle. If your Instagram handle is like IHeartPhotos but your business name is something else, it might be hard to associate those two things so I always try and keep things consistent. And same with the domain name of your website too. So, it's always kind of keeping it simple and, again, that's why I only use Instagram. A couple other sources for photos are some different photo-based websites. One of them's Behance. You'll see some people who make profiles on there. I've actually heard of this being more and more popular lately amongst a couple people in the advertising community. You can put projects up there that you're working on whether it's an entire photo project, a photo set from portfolio, and you can write a little bit about it but it's basically a portfolio, a website for creatives to put up some of the work their on, their working on, and then you can search it by different categories and things like that. I talked to a couple people, one was a rep, another was someone in advertising and they said, oh yeah, I found this guy on Behance and I was like, I don't even know what that is. I think it's owned by Adobe. I didn't know that until I just went to make a profile on Behance and apparently I've had one for seven years but it was because it was my Adobe login. Photoserve is owned by PDN Magazine, it's another resource. I've gotten hired like five different times from Photoserve and I don't even remember signing up for that either but apparently I had like five photos and my location, so when people were looking for editorial photographers in the Midwest, they typed in some certain perimeters and my name came up, so Photoserve's a site where you can have a free profile that links to your website or you can pay to have a little more features. I'm sure there's quite a few more sites like that, I'm not familiar with any of them, but these are the ones that I use. I've also heard of a lot of ad people recently making a comeback to Pinterest to look up some ideas, following people's different Pinterest boards as far as photographers go. I'm not currently active on there 'cause, again, I only have so much time and I just don't do it but I've heard, and this is in the last two months, I've heard of a couple of people and ad agencies talking about Pinterest as, you know, something that they used to do, then it phased out, and now they're back looking on there for whatever reasons. So, I'm just saying what I hear, I don't speak it as gospel or anything but those are what I've heard from some people whose opinions I do value.

Class Description


  • 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


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.


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


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


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.


  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.


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.

a Creativelive Student

Dan is an excellent instructor! He's completely transparent with his thought processes, from technical to creative. He doesn't waste time horsing around or getting off topic, but is structured and sticks to his outline. Every minute watched is on topic, and is understandable. He's sincere and likable. The course is great for anyone interested in this genre!