Some reasons why I use this green screen and why I do composites is I have so many location limitations. I cannot take my athletes and stuff to a big stadium to photography in. I am from a small rural town in Iowa. We don't even have big stadiums in Iowa. There's not even a professional sports team in Iowa. So I can't take that and get them to that location. Obviously you'd have to have restrictions on how you could get people there, and you could photograph on those locations. Time limitations. I have some really cool backgrounds as far as I bought some scoreboards that I can take 'em to, some actual scoreboards. Have them stored at a vacant lot a couple of miles away. But it takes time to pack up all of my equipment in my truck, go to that location, unpack it, set it up, get the lights perfect, get the scoreboards ready, and then photograph the athlete. Tear it all down, pack it in my truck, get back to the studio. That's a lot of time investment. Instead I can just have them photogr...
aphed on green screen, slide that background in front of 'em and go on to the next scene. So it's very simple and it speeds up my time a lot for that. Obviously weather limitations. Every time I try to schedule a Little League session it seems like it rains. It will always rain if I try to schedule it outside. So instead I have them come to my studio and I photograph 'em on green screen. But if you didn't have a studio you could easily do it at the school gym, you could do it, bring a tent along with you. One of those tents that a lot of live photographers use. You can do it in a park overhang, a verandah type area. So there's lots of different locations you can photograph in. You can photograph anywhere with a green screen, on location too. Control is a big issue for a green screen. I can completely control the lighting on green screen for a team. Instead of having to deal with the issues of somebody on the left being too hot and someone on the right having too many shadows on them I can photograph them in small groups, or even individually, perfectly control the lighting on each individual, make sure their pose and their expression is great, and go on to the next person. So I have perfect control over all that. And value. Believe it or no, if you market it right, composites and green screen photography have a higher potential value than a lot of my kind of just on location takin' a picture of a senior in field or something like that. I have an extra fee I charge for my artwork, for my extra composites and stuff, for the time I put into this. And clients can more easily see and understand the value of the time I had to put into it, like materials, like my software, and just they know that I'm gonna have to invest more time than that shot just outside that I took of that senior there, so they're more willing to pay a little more for that.
What if you could offer your clients the chance to pose in front of the Eiffel Tower, run with the bulls of Pamplona, or trek through the Amazon rainforest? With green screen photography, you can. In this course, Ben Shirk will teach you how to use this magical process of adding in various backgrounds to your images, giving you the power to provide eye-popping photography services to your clientele.
In this class, you’ll learn how to:
- Utilize different models of green screens.
- Light your shoot so you can easily extract your images and create a composite.
- Add the background elements and create a seamless final product.
By incorporating this unique service into your business model, you’ll be able to win new clients and keep your old clients coming back for more.