Tony Luciani’s Artistic Beginnings

Tony Luciani, a multi-award winning artist, has spent more than 40 years of his life as a painter using positives and negatives, composition and light to create stunning art. His work has been exhibited in numerous galleries throughout his career. Already drawing at the age of six, he was compelled to enter the TV Guide Magazine weekly art contest. He would draw the images and submit them only to have them returned with instructions not to cheat. Since the contest was to mimic the example pictures, and Tony had done so masterfully enough that they felt he had traced them, he knew he had found his calling. His high school courses were heavily focused in art. After high school, Tony went before the board at Ontario College of Art where his portfolio was evaluated, and he was fast-tracked to third year due to the strength of his body of work.

A Candid Interview with Tony Luciani

Tony called me from Canada and spoke candidly to give me a deeper and more personal glimpse into his backstory and present life. He told me that one of his favorite paintings titled, “Wonder Woman” stirred great controversy and that many galleries would not even consider exhibiting it. It depicts a woman, Monica that is not covering up the scar of her mastectomy but protecting it. It leaves the viewer connected, not just to Monica but to the sacrifices we make for survival. Her beautiful bald head and soulful eyes courageously encourage strength from those facing the same battles. This incredible painting is now a permanent fixture, the smallest ever at the Modern Art Museum in Barcelona, Spain. To view more of Tony’s paintings, visit his website.

Tony Luciani Adds Photography to His Repertoire

Paintings of his caliber take months to finish and Tony wasn’t satiated with only putting out 3-4 paintings per year. He longed for another way to put his feelings to art and decided that photography was a wonderful solution. In his many years as an artist, Tony had only used a camera to take reference images so that he could use them to create his paintings. About a year ago, that changed when Tony decided to start playing around with his camera to learn more about the various technical settings. His strong grasp on composition and lighting as a painter was already ingrained in his mind and made him far more advanced than most who pick up a camera today.

As his mother, Elia, who will be 93 in January, began to develop partial dementia while living on her own, Tony decided that she was too full of life and humor to even consider an assisted living home. So, he moved his mom into his own home/studio, a converted old church, in September 2014. Hearing him tell me about this historic space made me think about the stories that one place must hold. His words, so descriptive and passionate about life and art brought me into his world for a moment and made me feel like I was there watching him work.

How Tony Luciani Drew Inspiration From His Mom

One day, Elia sat in a chair reading a book with her head rested on her hand. Tony noticed the way the light was hitting her through the frosted, diffused church windows and he knew, in that moment, that he had to photograph her hands and face. He grabbed his camera and began reading the light with his eyes as he posed her and took beautiful frames of her features.

Her hands and face adorned in wrinkles that tell her age didn’t stop Elia from thinking of herself in her youthful years and transporting mentally back to that time. Tony realized that when Elia would dress up for him to photograph her, she would come back to life and have so much fun participating.  So, he continues to photograph her, and she thrives on it.  Tony says that his mother modeling for him is her contribution to the household which admittedly, made me chuckle. His photo sessions with Elia activate her mind while also capturing her spirit. His love for the woman who birthed him shines through and is evident in the portraiture he creates of her. Elia now collaborates with Tony on portrait concepts.

In Tony’s Own Words, He Describes How a “Sew Sew Photo” Came About

“As a young boy, I would at times bring my school homework down to the basement sewing room. There, my mom would be creating & mending clothes for the family on this massive machine she purchased from the factory where she worked. I would cuddle up in this over-stuffed fabric chair and listen to the humming of the motor, as I did my math and English. It relaxed me. Mom’s house was sold a while ago…and I salvaged the Singer machine, saving it for my daughter on her request. One night a few months ago, I heard that same hum from my studio late one night. When I quietly went down, I saw mom mending away. I relived my childhood for a few minutes. I felt like a kid again.
I call this shot, ‘A Sew Sew Photo.’ ”

Elia Luciani: More Than Tony Luciani’s Muse

Elia received a Nikon Coolpix P5000, 10-megapixel camera from Tony, and he challenged her to capture at least 10 images per day of her surroundings. He set up a Facebook page for her and posted her work proudly, entered her into some competitions and her work was featured several times as best of black and white on Inspire Magazine. From April to June 2015, 17 of Elia’s beautiful images stood out on the walls of the Chicory Common Natural Foods & Cafe in Durham, Canada. This was her first “One Old Woman Show” and I suspect it won’t be the last.

My Thoughts on Tony Luciani’s Widespread Appeal

Many people create gorgeous images every day so why then does Tony’s images of his elderly mother garner thousands of social media likes every time he posts a new one? I earnestly believe it’s because these portraits connect with nearly everyone. Perhaps you, as the viewer are elderly yourself, or you see someone who has also or is currently suffering from dementia. Maybe you see your future self or feel guilt for an elder that you didn’t continue to care for. Maybe you are reminded of the good days that led up to the end of a loved one’s life. Perhaps you are even afraid of the end of your own. Whatever the reason may be, Tony’s images are captivating. He says he’s not a photographer but in my heart, I disagree. Feel free to check out his photography website and decide for yourself. To see the world through Elia’s eyes, visit her Facebook.

What Is a Business Headshot?

A business headshot, also known as a corporate headshot, is a professional portrait that represents an individual as well as their brand and personality. Headshot photographers must make an effort to understand their client’s industry and brand before deciding which type of headshot will best suit their needs.

Why Are Business Headshots Important?

At a time when many companies conduct business remotely, oftentimes over Zoom or a phone call, the need for quality business headshots has never been greater. A good business headshot can go a long way to portray the subject as professional, dedicated, and trustworthy. Headshots place a face with the name and they help communicate one’s personality and brand.

Moreover, executive portraiture has the unique ability to humanize a corporation by transforming it into an individual entity. By capturing an executive’s portrait, the relationship between the corporation and its customers becomes more personal, rather than solely being based on the exchange of products and services. It’s a personalized touch that cannot be achieved through the use of a stock photo library or any other method aside from hiring a professional photographer.

The Role of a Qualified Business Headshot Photographer

Although every pro photographer can take a picture that reflects the subject’s appearance, an assignment photographer with experience shooting corporate leaders goes further. That photographer knows how to capture the executive’s personality, connect their look and image with the company they represent, and make sure the final images are capable of being used in all the different ways the company’s communications department might need.

It is important to know what types of uses are planned for the executives’ portraits — so that the lighting and poses can be tailored to fit. If there is a designer or art director working on the project, there is often a style or technique that they are looking for.

Preparing for the Photoshoot

A consultation with the client before the photoshoot is essential to understanding their needs and preferences. Discussing wardrobe and makeup choices as well as choosing the right location and background can make all the difference in capturing the perfect shot. From prep to the final product, communication with the client throughout the process is vital to ensure success.

How to Prepare for Business Headshots

Part of the solution is good preparation—not just by the photographer but also by the company. When the company’s communications department has properly briefed the executive on what will happen, and has set aside a suitable amount of time in his or her schedule, subjects tend to be more relaxed and the shoots tend to go more smoothly.

How to Choose the Right Business Headshot Location

Choosing the right location for the shoot plays a major role in ensuring that the image reflects the desired style. A portrait behind a desk can say a lot about the executive, but not necessarily about the company. An executive shot on the factory floor or surrounded by visuals that reflect the work of the corporation looks like an executive who is an integral part of his industry and of his company.

That said, choosing the best location is not always easy—or even possible. Companies often bring the photographer into the executive’s office or the board­ room and expect them to produce — within just a few minutes — a portrait of their CEO.

Balancing Technique with Storytelling

The task of capturing business headshots can be accomplished by utilizing various angles and lighting techniques, and the photographer can make the most of the location. However, it is typically more effective to select locations that enhance the meaning and impact of the shoot, rather than simply using any location available. The ultimate goal of a good business headshot is to reflect the executive’s personality while telling a story about the company and the executive’s role within it.

When approaching corporate photography projects, photographers should research the person, business, and environment, and then plan accordingly. Despite tight deadlines, they should remain analytical and decisive while selecting the best options from the location. And, when presented with a willing subject, they may take advantage of the opportunity to try out artistic and innovative techniques, allowing their creativity to flourish.

Tips for Photographing Business Headshots

Tip 1: Build Rapport

Building a rapport with the client is crucial to create a relaxed and comfortable environment for the photoshoot. In business headshot photography, a client’s comfort level will be amplified in the frame. Our faces can communicate a wide range of emotions with simple, subtle shifts in expression. Because headshots bring a lot of attention to the face, it’s important that the expression is communicating the client’s intended message.

A great way to build rapport is to show genuine enthusiasm and interest in the client and their business. Using what you learn while researching the company or person can serve as evidence of your interest. Doing this works well to make them feel valued and create a positive experience.

Tip 2: Research and Practice Headshot Posing

Understanding basic headshot poses and cues for posing different body types can make a significant impact on the final images. Encouraging natural expressions and body language and avoiding common mistakes like stiff posing or forced smiles can also improve the overall quality of the headshot.  Lastly, be sure to understand small nuances like the Peter Hurley “squnich” and how to emphasize jawlines.

Tip 3: Operate Quick and with Confidence

Of course, shooting situations are rarely perfect. It’s rare for a top executive to be able to block out a large chunk of time from an overfilled schedule to stand in front of a lens. In most cases, although shoots might last between 30 minutes and an hour, the executive will be keen to move on to the next meeting or in a hurry to get back to their desk.

While it’s understandable that executives may feel impatient during a portrait shoot, displaying such impatience can negatively impact the quality of the final product. Therefore, a good executive photographer must know how to put the subject at ease and shoot efficiently.

One approach to alleviate the issue is to involve the executive in the shoot, explaining the time required for setup, the length of the shoot, and the number of expected images. By clarifying the process, the subject will feel more comfortable and engaged throughout the shoot.

Tip 4: Light It Right

It goes without saying that lighting is one of the most important components in all of photography. The same, of course, holds true for business headshots. As mentioned earlier, you might not have control over the location, so you’ll need to be ready to go with natural and flash photography techniques.

Natural Light Vs. Flash

If the client prefers a natural light look and the location provides adequate ambient light, then great! Maybe, you’ll just need a reflector to push enough fill light back onto your subject’s face for flattering results. Flat lighting is a common key light pattern used for headshots. Here’s one way to get flat lighting with a 5-in-1 reflector and window light.

It’s worth noting, however, that flash, when used with the appropriate modifiers, can emulate natural light in a convincing manner. Understanding how to balance flash and ambient light for both natural and dramatic looks will allow you to get whatever look the client wants under just about any conditions.

Diffused Flash

If you do need to use flash, you’ll want to make sure you have a soft box or white satin umbrella to diffuse and soften the light before it falls on your subject. Diffused light can create a softer and more even light source, reducing harsh shadows and creating a more flattering look. Harsh light (often the result of using direct, on-camera flash), on the other hand, can create unflattering shadows and highlight imperfections. It’s important to avoid harsh light and use softer light sources instead.

Multiple Light Sources for Business Headshots

You might also consider using multiple light sources to create a more dynamic and visually interesting image. Using two to three light sources (key light, fill light, and rim light) can add depth and dimension to the final product.

Conclusion

In conclusion, mastering the art of business headshots requires a combination of technical and interpersonal skills. Understanding the client’s needs and preferences, communicating effectively, and directing the photoshoot with confidence can result in a top-quality headshot. Editing the final product to meet the client’s expectations and delivering it in the right format and resolution is key. By following the guidelines outlined in this guide and continuing to learn and improve, you can become an expert in capturing professional business headshots.

Note: This article was originally written in 2016 and updated in 2022 to include more tips and images.

Video | Sunset Portrait Photography

In this episode of minute photography, we show you how to achieve a perfectly lit sunset portrait while throwing the temperature into a cool blue.

Step 1: Dial in Camera Settings

Set your shutter speed to 1/200th of a second and dial in the proper aperture and ISO setting that retains the detail and dynamic range of your sunset portrait. In our scene we arrived at an ambient exposure of 1/200th of a second, f/5.6, and ISO 100, and you can see from the image above, that our subject is extremely underexposed but our background has the perfect balance of brightness.

Step 2: Set your In-Camera White Balance

Throw your temperature into a deep blue by setting your in-camera temperature setting to 3600K. This is just a starting point so gauge whether or not your sunset’s color can handle more or less of a temperature adjustment. Now, with this adjustment we need to make sure that the off-camera flash color helps us retain our subject’s natural skin color and therefore we use a CTO (Color Temperature Orange) gel to balance between the ambient light and in-camera temperature throw.

Step 3: Add In Your Light

Now that you have the appropriate settings add in your hot-shoe flash to illuminate your subject. We don’t want to use direct flash in a scenario like this because it will cause extreme highlights on our subject’s face, so what do we do to create a hard, specular light that still has a diffused quality?

Step 4: Use a Reflector To Bounce Light

There is only one option to get the aforementioned quality of light: bounce. Bring out your reflector (we love using the Westcott 5-in-1) and bounce your on-camera flash onto the silver side of the reflector to create a specular light source while still softening the light so that it doesn’t create harsh highlights.

To master foundational lighting techniques, check out our Lighting 101 workshop, or stream it along with a myriad of photography and post-production education as an SLRL Premium member.  For more free education, we’ve included bonus case studies below.  In addition, you may be interested in the following articles:

• Panoramic Sunset Portrait – How We Shot It
• How To Take The Perfect Sunset Photo
  

Bonus Case Study # 1 | Sunset Candid Couples Photo

The Photo

The Equipment and Settings

• Nikon D700
• Nikon 50mm f/1.4 AFS-G
• 1/3000 sec @ f/1.4 & ISO 400
• Manual Exposure, Manual WB, RAW

The Shooting Conditions

Shooting portraits at sunset is always a difficult situation.  You want to capture the beautiful warm sunset, and maybe even put the sun in your frame, and yet you also want to view your subject’s faces.

The original, un-edited image looked like this:

The highlights are almost blown out, and the faces are getting pretty shadow-y.  However neither are totally “clipped”, so the image has potential.  Could I / should I have used flash to illuminate their faces?  Maybe, but it would have taken time to set up, and in these kinds of situations I like to shoot as freely as possible.  With flash I would have had to concern myself with setup, recycle speed, and since the subjects were moving I would have had to coordinate flash distance, angle, etc…

The bottom line is that I felt more comfortable relying on my camera’s dynamic range, and just going with the soft natural light that was on their faces.  As the sun gets closer to the horizon it dims and softens, so I knew I could “fit it” (the scene) into a single RAW exposure.

The Post-Processing

Remember, you are not using RAW as a “crutch” because you’re sloppy with exposure, or because you’re too in-experienced or lazy to use off-camera lighting.  It is a calculated decision that you make based on time, practicality, and what you know you can get out of your images in post-production.

To process the original image, I started with one of the “HDR portrait” Mixology presets from the SLR Lounge Preset System.  This preset helped me preserve highlights, brighten shadows, and yet keep skin tones from getting to “grunge-y” like an HDR landscape photo usually looks.

Next, I used a vintage fade preset that affects the RGB curves only, (so as not to mess up my exposure, shadows, highlights etc.) …and finished the image off with a faint amount of burning & dodging.  Oh, I also cropped the image to put the subjects’ faces just slightly off-center.  When shooting wide-open at f/1.X in an active scenario, I often opt to “bulls-eye” my shot to ensure perfect sharpness, and then just add a slight crop later.  This gives me better results than attempting to use an off-center focus point in low-light and risk the image being slightly mis-focused.

Case Study # 2 |  A Kiss at Sunset

The Photo

The Equipment and Settings

• Nikon D300
• Sigma 50-150mm f/2.8 @ 150mm (The old one, not the newer stabilized Sigma 50-150 2.8 OS)
• 1/750 sec @ f/2.8 & ISO 200
• Manual exposure, Kelvin WB @ ~5000K, RAW

The Shooting Conditions

Here’s a good example of when to “turn the whole thing around” and use the sun as your light source. Usually, photographers fear direct sun on their subjects as if it’s the plague.  Entire photo shoots can go on with the sun at a subject’s back, for that flare-y, backlit look.  While this can of course be beautiful as well, and it’s a very good idea for times of day when the sunlight is harsh, the “golden hour” just before sunset changes that rule in my opinion. Sunlight on a subject can be a beautiful thing, so keep an eye open in all directions and consider your options.

Especially when the weather is a little more dramatic than usual, you never know where light and color might appear!

Here are a couple additional images from the scene, as the light changed and faded:

The Post-Processing

This image is another SOOC image. (Straight Out Of Camera)  Even though I shoot 90% of my photos in RAW, I still browse and sort my images in Nikon’s View NX 2 file browser, because of it’s blazing fast speed at viewing RAW files.  (Similarly to Photomechanic, and in my opinion even better!) Usually I just cull my images in View NX 2 and then import them into Lightroom or use Bridge’s ACR to do actual color corrections, however sometimes an image just looks great in View NX 2 so I export it exactly the way it is!

If you look closely you can see a faint bit of color shifting around the edges of the frame; this is simply due to the in-camera saturation and contrast I applied.  It goes away once you open the RAW file in Lightroom etc.

The DSLR vs mirrorless debate introduces many important questions about the future of photography.  The general trend is that manufacturers like Sony, Canon, Nikon, and Olympus, brands that used to make DSLRs with optical viewfinders, have made a strong transition towards mirrorless cameras. In fact, all of the most notable releases in 2021 and 2022 are mirrorless cameras.

The vast majority of lenses made by Canon and Nikon in the last two-plus years have been mostly mirrorless lenses, too!. With all of this latest technology, research, and marketing power all focused on mirrorless, where does that leave DSLRs?   Here’s what we’ll cover:

• DSLR vs Mirrorless Video
• Size Comparison
• Price Comparison
• Viewfinder Comparison
• Autofocus Comparison
• Options for Mirrorless DSLR and Mirrorless Cameras

Watch The DSLR vs Mirrorless Cameras Video

Pye Jirsa and Joe Cha went head to head to discuss the pros and cons of each, and debate which is better. Check out our discussion in the video below.  Pye is using the Canon DSLR system and I use the Sony Full Frame mirrorless cameras. This is an interesting look back in time, because Pye has, in fact, tested out Sony full-frame mirrorless, however, he eventually switched to Canon’s new RF full-frame mirrorless system!

This video is a few years old now; can you spot some of the key points that may have changed since then? (Mirrorless battery life, autofocus, anything else?)

DSLR vs Mirrorless: Size

On paper, it’s clear that the mirrorless cameras and lenses win, but in practice, it’s a different story. It’s amazing to have a professional camera outfit that weighs less than my Chipotle burrito, but when the buttons are so close together on that compact mirrorless body, it’s easy to accidentally adjust settings. In other words, especially if you have large hands, there is actually an advantage to having a “decent-sized” camera.

I’ve been shooting with these mirrorless cameras for a while now and I still have the occasional mishap. With that being said, the size is actually dependent on your intended use for the camera. For consumers, the smaller outfit is definitely a huge advantage, for everything from travel and epic adventures to everyday casual use, however, for professionals that convenience of compactness may come at the cost of ease-of-use.

Winner: Draw if you are a working professional, Mirrorless if you are a beginner or need portability

Price Comparison

This is an area where the DSLR vs Mirrorless debate has almost never had a clear winner. Simply put, cameras are still expensive! Especially if we try to achieve a little bit of “apples to apples” in our comparison by only considering full-frame cameras, it’s often a draw.

• Entry/Mid Level Full Frame:
  • Mirrorless Nikon Z5 ($1296)
  • Mirrorless Nikon Z6II  ($1996)
  • DSLR Nikon D780 ($2296)
• High Megapixel Full Frame:
  • DSLR Nikon D850 ($2996)
  • Mirrorless Nikon Z7 II ($2996)
  • Mirrorless Sony A7R IV ($3498)
  • Mirrorless Canon EOS R5 ($3899)
• High-Speed Flagship:
  • Nikon Z9 ($5496)
  • Canon EOS R3 ($5999)
  • Sony A1 ($6498)
  • Canon 1DX III ($6499)
  • Nikon D6 ($6496)

If we looked at the lenses that are available for both DSLR and mirrorless cameras, here’s what you’d see: Across the board, there are some very affordable options, especially from third parties, but also, the high-end flagship options from the name brands are all very, very expensive. Mirrorless vs DSLR almost doesn’t matter; if you want the top-shelf lenses, you’re always going to pay a lot for the latest and greatest optical performance, and right now that just happens to be mirrorless quite often.

However, there is good news! Today, there are more impressive affordable lenses available, even for full-frame cameras, now more than ever before. Especially for Sony mirrorless, if you are willing to consider third-party options from Rokinon AKA Samyang; the range of budget-friendly, high-quality lenses is just impressive. (Yes, there were a lot of low-budget lenses for DSLRs, however, they were often very terrible quality!)

Winner: Draw

Viewfinder: Electric Viewfinder (EVF) vs Optical Viewfinder

I absolutely love the EVF in my mirrorless cameras. It’s amazing being able to see the exact exposure and color that I’m going to get before I even press the shutter!

Also, in bright, sunny conditions, it’s rather convenient to be able to see the playback inside the viewfinder. It’s a great setup and my face never leaves the viewfinder, which is great for important events.

The downside is that all electronic displays are just that: an electronic display, meaning what you see has technically “already happened”. Thankfully, viewfinder lag times have improved immensely over the years, and for most types of photography today it simply isn’t a problem. However, DSLR viewfinders will always have an advantage in that what you’re looking at through the optical viewfinder is actually what is happening right at that instant. For truly high-speed subjects, this may always give you an edge.

Also, optical viewfinders in DSLRs have the inherent feature of “always on”, in fact, you can raise a DSLR to your eye even while the camera is off, and still be able to frame a shot! You just always know that if you raise the camera to your eye, you’ll see your subject.

Mirrorless viewfinders, in addition to having a (now very slight) lag time, also have a sensor that detects whether or not your eye is even looking through the viewfinder. This isn’t a problem most of the time, however, if your EVF presence sensor gets a little dirty, you may find yourself raising the camera to your eye and simply not having the EVF turn/switch on! At critical moments, this could present a problem.

Winner: DSLR for some, Mirrorless for most

DSLR vs Mirrorless: Autofocus

This is one of the biggest areas of debate, because mirrorless cameras have always had more autofocus points, and those points were spread out all over the viewfinder, but they weren’t very reliable, to be honest.

Oppositely,  DSLRs had stronger autofocus points that were much more reliable, (cross-type, phase-detect AF points are what you want!) However, these DSLR AF systems all had their focus points clustered in the center of the frame, due to optical and physical constraints.

In the last couple of years, however, mirrorless AF points have become much more reliable. Simply put, the earliest mirrorless cameras had terrible autofocus, and DSLRs were far superior. But, starting with notable mirrorless cameras as the Sony A9, mirrorless autofocus began to progress by leaps and bounds, especially in terms of face and eye detection and tracking.

Today, mirrorless cameras are now better in terms of autofocus for virtually all types of casual and most serious, professional applications, due to the fact that they can focus anywhere in the viewfinder, and detect, lock onto, and track, faces, eyes, and even wildlife and action sports objects. Yes, even in “abysmal” low light conditions!

It wouldn’t be fair to the DSLR to not mention that until very recently, though, the highest-level flagship cameras for high-speed action sports and wildlife were still DSLR cameras. (The Canon 1DX III and the Nikon D6, that is) Now, although we do have the Canon EOS R3, the Nikon Z9, and the Sony A1, it is still true that many professionals who are photographing high-speed racing sports, action sports, Olympic Games, and wildlife, are almost all still very big fans of DSLR autofocus technology.

Also, it’s not just about autofocus, but related to high-speed subjects: optical viewfinders allow a DSLR user to track high-speed moving subjects more easily than with an electronic viewfinder, making the overall experience favorable for DSLR users.

Winner: Mirrorless in many conditions, DSLR in some

DSLR vs Mirrorless Lenses

Although a DSLR camera will typically have more native lenses to choose from, mirrorless systems are gaining more and more lenses every day. In fact, if you count Sigma, Tamron, and Rokinon Samyang, Sony’s e-Mount mirrorless platform may now have the most current-generation lenses on the market today! Indeed, a lot has changed in the last 5 years.

Furthermore, any mirrorless camera will always have far more adaptable lenses. Just on Sony’s E-mount alone, I’ve mounted everything including native E and FE lenses, A-Mount lenses (Sony, Zeiss, and Konica Minolta), Leica, Voigtlander, Canon EF, Nikon F, and Exakta (have you ever even heard of that one?!) lenses on my mirrorless body.

With the advantages of a shallow flange distance and an EVF (electronic viewfinder) with “marching ants” (focus assist), mounting and even manual focusing with virtually any lens is now possible.

Last but not least, thanks to that shorter flange distance, new optical formulas are now becoming possible that were never before seen on DSLR platforms. Lenses as enormous and exotic as the Canon RF 28-70mm f/2, to the ultra-portable yet still professional-grade Sigma 28-70mm f/2.8, (pictured above) …are all huge winners that, as I mentioned before, hit all the price ranges in exciting new ways.

Winner: Mirrorless

Options on DSLR and Mirrorless Cameras

I find that the DSLR will have more physical ports and ways to hook into, and a mirrorless will have more digital options (like apps you can install). If there’s a particularly difficult shot you want to capture, more than likely the DSLR or Mirrorless camera you’re using has a way to capture it.

For the most up-to-date recommendations, see the following articles:

• The Best Mirrorless Cameras for Pros
• The Best DSLR Cameras for Beginners
• The Best DSLR Cameras for Pros

Conclusion

If you need a camera body with fast and reliable autofocus, an optical viewfinder, and don’t mind the size, then a DSLR is for you. If you want a lightweight camera body with an EVF and can take your time in low light situation, then the mirrorless is a better option. The DSLR vs Mirrorless debate has been going on for years and we barely scratched the surface covering these topics, so let us know which you prefer and why in the comments!

If any of you read that little blurb at the bottom (the bit about me), you’ll know that I suffer from a back problem. At the age of 23, I’d achieved my dream of working in the film industry. That was ripped away when my back problems started, and I was housebound for two years. I made the decision a few years ago to stop letting it rule my life and instead to try and rule it. I couldn’t stand the thought of no longer producing images and so turned my knowledge toward photography.

It’s been a hard struggle; my back has had a significant impact on my twenties and as the five-year anniversary approaches, please forgive me for being uncharacteristically emotional.

Your Nerves Can Ruin A Portrait Shoot

Now, why am I telling you this? I’m not usually one to divulge my personal life online. Far from it. Due to everything that has happened, I put A LOT of pressure on myself and my business to succeed. In all honesty, an unhealthy amount. That pressure has led me to make mistakes.

On one of my first shoots, I was so nervous (verging on panic attack), that I barely changed any of my camera settings! Oddly enough, I got some really good photos, despite running on adrenaline only.

After that session, I vowed to stop letting my emotions get the better of me. Realistically, it doesn’t work simply saying to yourself “I will not let that happen again!” Things don’t work like that. So I came up with a system. Something so simple that it would allow me to continue shooting no matter how I felt. As time has gone by, the panic has subsided, but the technique remains.

Think Like A Cinematographer For Easier Portrait Sessions

Quite a while back now, I was watching Lighting 101, and Pye was talking about “working angles.” It got me thinking about how I approach a shoot, and thus the idea of divulging far too much about my personal life was born; don’t worry it won’t happen again. My technique came from my university education (clearly money well spent) and my work in the film industry.

I did a degree in Television and Video Production and one of the principles they taught us was how to capture a scene. I won’t go into detail with it, but the classic technique is to use establishing shots to begin your scene and then gradually move the camera in closer as the emotion or tone of the scene changes. Simply put, going from a wide establishing shot to a close-up.

In many respects, the method is comparable to the classic photo essay that used to regularly adorn magazines. We’re using our photography to tell a story. You can’t tell a story with portraits alone. Can you? Utilizing this technique not only gives you a fairly clear structure to your sessions, helping to calm the nerves, but it also provides your clients with more variety.

[REWIND: FROM WWII TO CORPORATE COVER UPS – THE ICONIC PHOTOGRAPHS OF WILLIAM E. SMITH]

I’ve watched a lot of the SLR Lounge tutorials and have come to realize that Lin and Jirsa are masters of this technique, telling stories through their images. All the photographs you see here are taken from an engagement shoot on the Lin and Jirsa blog. Take a look at more photos of the shoot here.

How to Apply This Technique To Your Portrait Shoots

Applying this technique to your portrait sessions is very simple and will help you keep those nerves under control. Firstly, we split our shoot into scenes. Nothing too complex. On your recce (yes, do a recce), find locations that you like and decide on a few areas within those locations. It depends on what you’re shooting, but I wouldn’t have too many unless you want to do a 5-hour long shoot! For my family photography, I stick to 3-4 areas at the most.

When you’ve begun each scene, you then need to think about coverage. The simplest way to do this is to start wide and then move in. Start with your wide establishing shots, then gradually move in until you’re ending on close-ups and detail shots. It’s that simple.

Of course, it’s not that easy. You still need to think about good composition, directing your subjects AND change your camera settings. But having this defined structure will help you along the way.

Summary

You don’t have to follow my advice, or anyone else’s for that matter. I do encourage you, however, to come up with a system. You never know when panic may strike. Having a system in place will help you remain calm and, therefore, be more creative.

I’ve always found education to be another great way to raise your confidence. In the past, nothing would help me more than learning some new technique and feeling like a better photographer for it. Make sure you check out the SLR Lounge Store for some of the things we offer and also click on those Rewinds above, I haven’t put them there just for fun!

I’ve had a rash of photographer friends who have either had babies or have just announced pregnancy recently and I’m seeing the same questions pop up on the Internet on what they should expect. Having been through this twice now, I started to put together a list of tips, information and experience that I’ve gathered these last few years and it was quite long.

So, we’ll be breaking up this guide for the pregnant photographer into two parts: “What to Expect When You’re an Expecting Photographer,” up into two parts. Part 1 will start off with 7 things to consider from Pregnancy through Delivery and Part 2 will cover life after baby arrives.

1. Timing Your Pregnancy as a Photographer

If you can time your pregnancy, then that would be awesome. But for most people, even those not in the photography world, nature doesn’t always work with our agendas. But, ideally, you would like to have your 8th month land within your business’s slow season, whatever time of year that may be for you. The reality is, for those that are trying, timing the pregnancy is near impossible. We’re just blessed if and when it happens.

2. Announcing Your Pregnancy

Because we can’t always plan the timing of our pregnancies, it means that we may have  some bookings that land within the ‘blackout zones’ (which I’ll explain in further detail below). This is where brides get really nervous. When you make your announcement, you better believe that your brides will be working out your due dates and wondering if their carefully planned day will be affected by your announcement. Two notes:

1. If you have weddings close to or within the ‘blackout zones,’ I advise holding off of public announcements until you are past the first trimester. For obvious reasons, you want to make sure that your pregnancy is well underway before contacting the affected parties.
2. I highly advise contacting your brides BEFORE you make your public announcement. It’s a professional courtesy that you should extend to them since they are the affected parties. For the ones that are close to the ‘blackout zone,’ you can assure them that you will be working up until XX date and that you have plans for contingencies. And for those that are within the ‘blackout zones,’ you should be prepared to offer a proposed solution with apologies.

Cindy Lowe of Orange Turtle Photography courageously shared her tragedy with me regarding a miscarriage.  With her permission, I share her story with you:

With our first pregnancy, we were so excited that we began to announcing it as early as 8 weeks. We started to stop taking bookings around that time as well. Little did we know that I would miscarry the baby at 13 weeks. It was emotionally hard for us and we also suffered the loss of income around the baby’s due date. We probably have turned away 3-4 weddings because of it.

3. ‘Weddings in the Blackout Zone’

All the questions and answers in this article are tough, but none are as much of an eggshell walk as this one. With my second pregnancy, I was part of a photography company that worked weddings as a team and our brides were fully aware that any one of us could shoot their weddings. I was somewhat in the clear, but not everyone has this advantage. One potential solution for the pregnant photographer would be to find a suitable replacement and pay that person to shoot in your place.

A pregnant photographer could still take on all the other tasks like editing and album design of course. The challenge would be to present this solution to your bride and hope she’s ok with it. My friend Emily Ivey of Fresh Ivey Photography had a situation where her client had paid a higher premium for Emily herself to shoot. Her clients were unhappy with her announcement and found the proposed solution unacceptable. Realistically, we have to be prepared to lose that client.

Of course I sent in wonderful replacement shooters but the couple was very displeased and refused to pay their balance in full. They wanted ME, had squeezed extra out of their budget for ME. It was the first time I realized that our marketing can backfire. We stress so hard why we are worth more money to our clients because we bring an irreplaceable element to their day–our person, our vision, our expertise–that they fall in love with that idea and are just so disappointed when we send someone else, regardless of how talented that other photographer may be.

4. The First Trimester

I’m sure you’ve heard of women whose first trimester was a nightmare. Weeks 3-7 for me were extremely challenging and battling nausea during wedding shoot days was horrid. When I found out I was going to be a pregnant photographer, I knew that it would affect my workload before and after my due date, but I never considered the impact it would have earlier in the pregnancy timeline. The problem extended to at-home tasks as well. Most of the time my body would shut down and I needed to sleep or lay down which impacted my workflow for editing and album designs. What really helped me was having a solid, fluid workflow in place that cut down my time spent in front of the computer.

5. Shooting as a Pregnant Photographer

Know your limits as a pregnant photographer and don’t be afraid to ask for help. Hire an assistant to carry your gear. Definitely hire a second shooter if you don’t already use one and if you need a third shooter and can afford it, by all means, do it. Major bonus points if the second shooter you have can play the role of prime if necessary.

It should go without saying, but take care of your health. Stay hydrated and nourished. Make your assistant be your food and water carrier. Keep your feet in comfortable shoes and lessen the weight you carry on your shoulders. The farther along you get, the more tired you’ll be. Your shoulders and your back will love you more if you are aware of your limits as a pregnant photographer.

6. The ‘Blackout Zone’ – Before Your Due Date

Determining the cut off before your due date is different for everyone. With my first pregnancy, I shot my last wedding while I was eight months pregnant. I felt fine and I had a blast. At one point, I was at the church ceremony, saw the shot I wanted down the aisle and without thinking twice, got down on my knees to take the shot. It was only when I had to stand up that I realized my mistake. I literally had to crawl to the nearest pew to help myself up to my feet. (Ok, that might have been silly and dangerous). By the 9th month, I was getting tired more easily and shooting long hours would have been a chore, but hour long portrait sessions were a breeze. I kept those up until I gave birth (two weeks past my due date).

My second pregnancy was definitely not the same experience. I had sciatic issues that manifested by the 6th month and shooting weddings was impossible. I would get hit at odd times with a crippling shooting pain that I couldn’t get rid of for a half hour or more. The point is there is no real way to plan it out. Hopefully, your pregnancy is easy and normal. Discuss your situation with your doctor but also be aware of your body and know your limits as a pregnant photographer. Don’t try to be a superhero, there’s plenty of time for that later when the baby is out.

What about destination weddings? Again, consult with your doctor and know that some airlines have restrictions and requirements regarding flying when pregnant.

Think the due date concern is only for the female photographers in our community? Guess again. Mike of Mike Arick Photography says that he’s blocked off the two weeks before and after his wife’s estimated due date (which is coming up this April), but he still had couples insist on his services.

I’ve told all my inquiring couples about the due date and really tried not to book any weddings within a 2 week window before or after our due date. I still had a couple book with me two days from the due date. I have a 2nd and 3rd photographer for that wedding. Both are leads for their own biz and I designated one to take over in the event I’m not there. The couple is ok with this since I laid it all out beforehand.

7. The ‘Blackout Zone’- After Delivery

I don’t think I’m exaggerating when I say that wedding photography can be physically exhausting. It’s a long day of repetitive motion and physical activity. That said, a pregnant photographer should definitely discuss your active return date with your doctor. They usually require a postpartum checkup four weeks after delivery, and I can guarantee they will NOT be ok with moms returning to work before that. If you have a normal delivery, your doctor may give you a green light after five weeks, but if you have a C-section, it might take longer. I know someone that was against a rock and a hard-place and had no choice but to shoot 2.5 weeks postpartum. Needless to say, it was not a pretty picture and she definitely advises against it.

Gentlemen, if you’re leaving your wives to go shoot a wedding within that first month, I would highly suggest arranging for some kind of help for her especially if it’s a C-section delivery. If she insists that she’ll be fine, you should ignore her and get help anyway. Take my advice and thank me for the bonus points I just earned you.

I hope I haven’t scared everyone off yet. Please know that my two children are my most precious blessings (after my ever supportive husband). I love my family dearly and I wouldn’t trade them for the world. I just wish I knew half of what I know now as far as expectations. It’s always better to be prepared.

Don’t forget, there’s a ‘Part 2′ to all this where I’ll be discussing life after delivery and some real world stories on the impact parenting makes to your small business. I’m ever so grateful to all the friends that have contributed their own stories to the creation of this article.

A good percentage of the women I shoot boudoir for have never met me in person before the shoot. We usually communicate via email and over the phone so it’s pretty common for their nerves to be higher than normal during the shoot. In Part 1 of our Boudoir Shooting Tips, we talked about my 5 favorite tools to bring to a boudoir shoot. In part 2 we will talk about 7 effective tips for how I set the tone and alleviate nerves during a Boudoir shoot.

Watch The Boudoir Shoot Tips Video

Music: “Aerials” from Lights & Motion “Reanimation” (Deep Elm)
License this song at The Music Bed

7 Tips to Alleviate Nerves at a Boudoir Shoot

Tip #1 No Alcohol

Clients joke all the time about needing a sip of wine or a shot to help them feel more comfortable during the shoot. Alcohol may alleviate our client’s nerves, but it can negatively effect the overall flow of the shoot. I know people who turn pink or red when they drink alcohol, and some people can get a glassy-eyed look after one shot of alcohol. I don’t want to have to Photoshop out signs of inebriation, especially when it can be prevented. The other main concern I have is that I don’t want to play bad cop. I don’t want to put myself in the position of having to cut someone off so I don’t even bother opening that door. I’d rather spend the energy breaking the ice and alleviating tension in other ways.

Tip #2 Dress Down

The general rule for dressing for a wedding as a guest is that the bride is the only one in white and you can’t try to outshine her, It’s her day. I approach the boudoir shoot the same way, in fact, I dress down. I skip the makeup, I wear sweats and a pair of flip flops. I want her to be the belle of the ball. I tell my clients that shoots are major workouts for me and my team, which is true. The girls usually understand and excuse the lack of professional outfit. This rule only applies to women. If I were a male, I wouldn’t come in too sloppy, because looking professional for men is important, and it won’t outshine the client.

Tip #3 Communicate with Client

I spend the first half of the makeup session chatting with the client. I want her to feel comfortable and get to know me. Occasionally I’ll divert the conversation to my assistant or makeup artist, momentarily giving her some room to breathe. When she does get more comfortable around me, I slowly bring us around to talk about fashion. It’s the perfect segue to discussing the outfits that she brought. When discussion our thoughts behind each outfit, I gauge her reaction to each of the pieces she brought. I’m not only trying to identify which outfits would best suit her, but I’m also trying to get the back story on the pieces she chose, as well as her comfort level with each of the pieces.

Tip #4 Create a Inspiration/Mood Board

I ask my clients to put together an inspiration board for our shoots using Pinterest. I like to see what style they are interested in and it also shows me their comfort range. I’ll offer up my own board as a starting point and for my boudoir clients. I like to emphasize that sexy doesn’t always mean naked. After we talk about the outfits, we’ll review the photo styles that appeal to her.

Tip #5 Plan Out the Shoot

Once all these discussions are in place, my assistant and I will plan out the shoot. While the client is finishing up on the makeup chair, we’ll walk around, check the lighting setups, match the outfit, and even plan out the poses. We will then circle back to the client and bring her into the plan.

Tip #6  Only Play Music During Prep

I’ll stream music in the makeup room during prep on a wireless speaker that I bring. I tend not to bring the music into my shoots because it’s distracting. A good song comes on and I start dancing, and she starts singing and then we start laughing. It’s hard to get back into the mood of shooting when that happens.

Tip #7 Be Sensitive with the Client’s Needs

These types of shoots call on me to be a friend, a confidante, even sometimes a psychiatrist. Boudoir shoots are emotionally sensitive shoots and I am highly aware of that. I do my best to get her in her comfort zone, as it does make the overall shoot a lot easier and smoother. The client will also greatly appreciate your sensitivity, and it will lead to overall better photos.

Bonus Info: How To Prep Your Client for A Boudoir Shoot

Before any type of shoot, it’s always a great idea to prep your clients. Remember, most of them are not used to being in front of a camera! For boudoir photographers (or someone looking to break into that genre), this is a very, very important step. In the following video, Ewan Phelan, who runs a very successful boudoir studio with his wife Brianna called Last Forty Percent, shares some of the tips he tells a client before a boudoir shoot. From sharing with them (and showing them) how to pose so he can create pronounced curves to what lingerie to wear, Ewan describes a multitude of instructions, very simply stated, that he shares with his clients.This 5-minute video is packed full of useful posing info – even if you are not a boudoir photographer.  See the (age restricted) video here.

If you want to add boudoir into your business, another clip from their Boudoir on the Edge with Brianna and Ewan Phelan course on CreativeLive tells you how to do just that. Perhaps you’re a wedding photographer or portrait photographer wanting to offer Boudoir for your clients. Brianna Phelan starts by saying that you have to treat it like a new business and start from the beginning. You cannot just throw it into the mix. This involves having a separate blog, website, and social media links as to not confuse your clients who might want to hire you for another genre of photography. The 4 minute clip below gives some good tips on how to seamlessly integrate your business.

Conclusion

Utilizing these 7 tips can help you create an easygoing, comfortable environment for your client in your next photo shoot. It can help your shoot go much smoother, giving you more time to capture and focus during your shoot. Try these tips out and let me know how your next boudoir shoot goes in the comments below. I’d love to hear any new techniques you guys use to handle your shoot.

Boudoir photography is a genre that involves a lot of attention to detail and a knowledge of body types, shapes, and movement. Obviously, when you have a semi-clad client in front of you, as a photographer, your confidence in lighting, posing, and angles have to be on point to make your client look their best. Add to that, most of us do not have clients that are naturally comfortable in front of a camera. There will be times that you do, and man, does that make our jobs easier, but a majority of the time, you’re going to need to know exactly what you’re doing and be able to direct a client confidently.

To learn more tips on boudoir shoots, drop in next week for part 3 of our Boudoir Photography Tips, where we talk about breaking the ice in a boudoir shoot.