I am kicking myself. Hard.

Why? Well, I went on a social media spree and posted about a webinar series I am co-hosting with Angela Pointon, called Swift Kick: Four Things Every Photographer Should Know About Business. Those who follow me on my Twitter and Facebook saw the posts and signed up quickly.

But I didn't really get you guys involved until … now. I am so sorry!

Well, the good news is, there is still time to register for the webinar series that will expose you to the marketing fundamentals most photographers miss.

I am sure you are curious what the webinar series is going to address and how it will help you. Let me tell you a story and I promise to keep it short.

After graduating from journalism school, with a strong emphasis in photography, I thought I was ready to take on the world and offer my photography services to anyone who asked me to photograph them or their event. Sad truth was unless I opened my mouth and told people that I was a photojournalist, no one really knew what I did for a living.

That's the case even today, except I am much better at marketing myself.

As I have already mentioned I have a fairly strong presence on both Twitter and Facebook (and I am exploring Google+). But that's really only online. What about off-line marketing, otherwise known as good ole' networking? I recently signed up to become a member of a local BNI chapter. I expect to renew my local chamber of commerce membership. I am joining other groups where members refer clients back and forth.

All that's great, but even those forays require some structure.

Angela Pointon, with whom I am co-hosting these webinars suggests that we begin by acknowledging our gut instinct. If a certain connection feels right to you, go for it. You really need to listen to what she has to say about this (and this first webinar is free).

The next webinar, with Tamara Lackey as our guest, will delve into the topic of “Discipline.” Without discipline, I am finding rather quickly, one's focus can get distracted. (on October 3, 2012, 8.30 pm to 9.30 pm … that's TODAY folks!)

Rosh Sillars, based in Detroit, Michigan, comes on board to talk about “Branding” (which hopefully we all know means how our business is perceived or thought-about rather than the existence of a logo. (on October 17, 2012, 8.30 pm to 9.30 pm EST)

Lastly, Skip Cohen, a marketing maven in the photography industry joins us to talk about having the “Right Tools,” to market our business. (on November 7, 2012, 8.30 pm to 9.30 pm EST)

Details about each of these sessions can be found here. If you are getting your business off the ground or you have been at it for a few years and want to know more, register for ALL FOUR sessions for just $25 now.

As an added incentive, ProDPI, Fundy Software, Song Freedom, Photocrati, ThinkTank Bags and Sticky Albums have all come on board as sponsors and have some exciting prizes that they are giving away.

ProDPI is giving away a 20″x30″ canvas per webinar.

Fundy Software is giving away Action Hub (a $79 value) to those who enter their email address into a special form which also enters you to win the Total Studio Pack (valued at $499).

Song Freedom is giving away one license for a song on their site, per webinar.

Photocrati is giving away one WordPress theme per webinar.

ThinkTank Bags is giving away one SlingShot 20 bag per webinar.

Sticky Albums has a special code to receive $30 off of their annual plan.

When you register for all the remaining webinars, you'll receive all the recordings PLUS you have at least three chances to win one of the prizes mentioned above.

So, what are you waiting for? Register now.

This is Russ Klettke's interview with Brian Dilg, who is Chair of Photography at the Photography School at the New York Film Academy. In addition to 20 years of professional teaching experience around the world, Dilg's work has been published in The New York Times, Time Out, Village Voice and covers of books published by Simon and Schuster, Random House and Hyperion. He has also worked in post-production for major fashion houses, consumer products manufacturers and media organizations. He also has won awards as a filmmaker and worked as a director, cinematographer and editor of narrative, documentary, music video and commercial films.

Q: What do you tell photography students about careers in the industry?

As an instructor at a New York-based school of photography (The Photography School at the New York Film Academy), I regularly provide advice to student commercial photographers and photojournalists about the kinds of careers they may achieve. It is hugely beneficial for them to envision the heights to which they can aspire – we are is New York, after all, where you can become the best of the best in almost every endeavor – but it is also essential to consider the entry point at which one can enter the profession.

I have a quick way of summarizing what a career in photography likely will entail. In your first job, you probably will be someone’s assistant, and a lot of your time will not involve taking pictures. Across the later arc of your career, you are likely to be self-employed and therefore must have business skills – in addition to your acumen and artistry as a photographer.

Q: So, they are to start from the ground up – but does that mean actually taking photos?

Let’s discuss first things first. The role of the photographer’s assistant, or someone who works in the administrative and support side of photography, is not just about paying dues. You will learn vital parts of what makes a photographer valuable to his or her clients and their craft. Between what you shoot and what is ultimately used in print editorial, multimedia advertising or online publications there is a lot of editing, organizing, legal documentation, processing and selling. Long-term, every photographer has to know how this works and how to manage it.

Q: We suppose this varies, depending on the type of photographer the student hopes to be one day, yes?

The specific path you wish to take – smaller-scale commercial (including weddings), larger-scale commercial (fashion and advertising photography), and photojournalism – would likely involve these entry level positions:

Smaller-scale commercial – Most established photographers need assistants to help with lighting, equipment, on-location support and administrative tasks. Work with a pro and learn to be a pro. Often, the assistant will price out a job (some use contract templates found on Blinkbid.com) and handle client contact to some extent.

Larger-scale commercial – The digitech assistant on advertising, high-end fashion and other large-budget commercial shoots may appear to be the most popular person in the production. As they work on the computer tethered to the camera, clients and talent might be clustered around them as they identify whether or not the shoot is getting them what is intended – in real time. The work doesn’t end there, as a lot of organizing and file backup is required post-production, along the path that selected images take to become a final product.

Photojournalism – While the budgets for photojournalists are shrinking for print media, rare is the project where the assistant can travel with the photographer to newsworthy locales – unfortunately. But there is plenty for the photojournalist’s assistant to do in the office: editing, cropping, backing up files, processing prints and communicating and invoicing are all in their role. This person gets a first-hand look at what clients (media) want and need, and the value they place on good images.

Of course, assistants in each category need to be working on developing their own skills and portfolio, even when that is not their full-time responsibility. For example, the photojournalist should seek out local media assignments, enough to develop credits and tear sheets. Commercial photographers-in-training should jump at any opportunity to work with smaller clients.

Q: Is it essential for the photographer to also be a businessperson?

Concurrent with developing a portfolio, the photographer needs to become comfortable with the business imperatives of a photography career. Indeed, the first job for photographers is to get to know the business. In addition to the skills development mentioned above, the future independent photographer needs to understand the importance of selling in their career. By selling, we mean relationship development. You’re only as good as you hope to be and working as much as you want when clients know you and trust you. That boils down to a personal style, your professionalism, how fun you are to work with and your ability to establish reasonable expectations on the part of your clients – on top of providing top-quality photography.

Do you agree that the first job for photographers who are either professionals or want to go pro should be to get to know the business? Sound off below in the comments section. Your voice counts!

Back in October 2010, I posted a review of Tamara Lackey's DVD “Inside Contemporary Children's Photography.”

Almost two years later, I have in front of me a book and DVD called “Capturing Life Through Better Photography.” While it too was published in 2010, I think it is appropriate that I am mentioning it now.

In the last two weeks, I have been approached by well-meaning parents who are frustrated by the challenges they face when photographing their children. And it was Tamara's book, “Capturing Life Through Better Photography,” that I recommend to them.

The book is concise. At less than 100-pages, it is a quick read. In fact, there are so many incredible examples that illustrates Tamara's points, that there is less reading and more seeing. As a budding photographer, I subscribe to this method of learning. We all need to do more seeing.

Tamara's other promise on the book is – “Simple tips & tricks to turn everyday snapshots into little works of art.” The basics, are for sure covered. Exposure, composition, timing, direction of light etc. But on page 43, she urges us to look at body language.

I know of no other book that makes this very important point. Body language, be it of a child or an adult says so much about their personality or their current circumstance. So, if you like nuggets like that, this book is for you.

The book is peppered with “Fun Facts” that draw the reader back in. Be they historical quotes or short scientific explanations (the one about why a balloon makes that popping sound was something new to me), Tamara's crisp and lucid writing will leave you reaching out for your camera to try and replicate what you see in her book.

The 90-minute DVD that is a part of this set is a MUST watch. Why? Well, if you somehow miss Tamara's high-energy and passion for teaching photography in the book, you'll definitely feel it watching the DVD. The 90 minutes zip by quickly. It's exquisitely produced. Tamara worked with Rex Ballard, the Director of Photography for ABC's Emmy award-winning Extreme Makeover: Home Edition, to create this DVD.

From my perspective I feel the DVD complements the book but not the other way around. So, think of the DVD as a real bonus.

If you buy the entire set through Amazon, you'll get what is called a “Quick Reference Guide.” I did not receive this so I don't know what is in it. But given the two other products that I have had the pleasure of reading, viewing and using, I bet the reference guide is just as good too.

Now, I do have to say that the book and DVD is directed towards those who have just bought or are thinking about buying a digital camera – a DSLR like the new Nikon D600 [affiliate].

Here is the link to the Deluxe kit where you get the book, the DVD and the quick reference guide for $59.99. There is so much information packed into each of these that I think parents or amateur photographers who want to start making images on a more solid footing will be remiss if they don't buy it. [I make absolutely nothing for promoting this set.]

Want to have access to more of Tamara Lackey's photography wisdom? Join us on October 3 when she will be our guest during our Swift Kick webinar. Sign up for that webinar alone or register for all of them in the series for only $25.

Will Wohler resides in Portland, Maine. He is a photographer, musician and optimist at Life is good®. A high school photography course started his journey in the photographic arts and has been his only “schooling” other than the wonderful internet. Portraits and fine art images are his favorite to shoot and has been slightly obsessed with his iPhone. Find him on his website, Twitter & Facebook.

I was recently in a fight, with myself and my life and it was the best thing that ever happened to me. It left me battered, figuratively of course, but my mind has never been clearer.

This fight that ensued has been a long battle back and forth with what I thought I was supposed to be doing with my life. My two passions were in competition for my attention and life had it's way of telling me which way to go but I didn't want to believe it. Kind of like the devil and angel on each shoulder telling you why their side is better. My schooling is in music education and after spending, and still paying, a lot of money to get this degree and be in a field I thought I was going to enjoy for the rest of my life I'm pursuing other things. Things that make me happier and that have been screaming at me to follow for quite some time.

I am happiest when I am photographing, whether it is with my iPhone or on a client session. I enjoy every minute of the creative process behind the camera. Though the guilt and dollar signs from my college days kept shadowing that passion and trying to push me back to teaching after I was let go after only 2 years in my first position. I have not been able to land a single interview since. This struggle has taken the better part of three years. The final blow to my teaching wants happened this past month when I was discussing this with my brother, who is younger but his view point was one that is educated in marketing and social media. I told him that I didn't think I wanted to teach any more. His response was “I could have told you that two years ago, look at what you post online and what you talk about all the time, it's photography, that's you!” He was right. The path was laid before me and I was aimlessly walking down it with out even realizing it. The realization below is what resulted during my path to recovery and a new exciting, yet scary endeavor.

Every time, and I do mean every time, I made the decision to focus more on my photography and not on teaching felt like a huge weight was lifted off my shoulders and I could be me again. I focused on myself more and thusly happier in all aspects of my life. I also used that new found motivation to do more for my fledgling business and every time it helped me, the business grew. I'm not going to get into business practices or anything like that because I do not feel like I have enough experience to talk deeply about it, but I will say that it started with doing what I loved and that was photography. I did it for myself first and found that I really enjoyed portraiture so I took steps to make that happen. All while still enjoying what I did. It did take a bit of time for me to get to a place where I could share my experiences with others but that is all part of the growth. If you enjoy what you are doing then you are on the right track. If you are not, then what steps can you make to doing something that you enjoy? However small a step forward is a step forward. I remember the first step I took toward the portrait side of photography. I was a nervous wreck but that one image that came out just how I envisioned it in my head pushed me to do another one. If you enjoy it make the time to do it. Momentum will build and soon you will be walking and enjoying the scenery.

That one image, like I said, pushed me to do another session with a friend and then another and soon I was almost running down that path. It was like I was flying in a dream. Then I got scared that I was going too fast and headed down a familiar yet dark and overgrown path. Be mindful of these things and if you feel like you are moving too fast then slow down and go at a comfortable pace. No one is telling you you need to run full speed all the time. I eased into it and I am thankful that I did because otherwise I may have burnt myself out. Take your own pace and then you can effectively manage roadblocks and pass on the dark overgrown shortcuts back to where you came.

My path in photography is just beginning, and I know the path never ends but only becomes easier to navigate the longer I am on it. Building my skills in weak areas has made my business and my photography grow even faster. Get the training or read about areas that you are weak at, like sales. That is one thing that I am not good at; even though I do that as a sales associate at a clothing store. Selling your own work is tough but having the knowledge has made a huge difference in my confidence and that is the beginning of everything. Blogs, forums, books, and online video workshops have all been how I have obtained these needed skills. Skills can be acquired in places you may not realize. My teaching background helps me work with people and problem solve to get the desired result. Music has brought another art form into my creative thoughts and often helps when creating. Those experiences will always be with me and I don't think I will ever loose the teaching or musician part of me. It just adds to what I can offer. Think of it like getting a pair of waterproof boots for when you come across a stream.

So now that you have the proper equipment for the journey, know your comfortable pace and recognize potential distractions from the main path and are thoroughly enjoying your trip, how do you know it is the right path for you? Even though the path may change it is always in front of you. You just have to take the steps. Listen to your gut, it is usually right in line with what your heart wants.

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Today's guest post is by Don Giannatti. In 2011, PDN named him one of the best photography workshop instructors.If you didn't catch his CreativeLive programs, read on. You can find Don on Twitter, his websites: Lighting Essentials, Learn To Light, Now This Is Cool … and Project52. He is thoughtful, opinionated, controversial and funny. Check out Don's first guest post as well.

Portraits.

Photographs of people. People in spaces. People in environments. People in places where the light doesn’t cooperate.

People in studio settings where the photographer has ALL the control – and all the responsibility – to make the light the way it must be to capture the subject.

People.

One of the most interesting and fleeting of all photographic subjects, the portrait can show us a beauty unseen, a glimpse into the soul of the subject, or a simple smile that will last a lifetime.

Or more.

The good folks at UDEMY.com asked me to discuss portaiture on their education site and it became a full course in no time. That sort of thing happens to me when it comes to teaching.

I absolutely love to teach.

This course is for the beginners – the guy who wants to do more fashion like headshots or the gal who wants to make better location photographs. Intermediate photographers who are a bit uncomfortable with their strobes may also find some choice nuggets in the class.

I want to help photographers see exactly what I see when I am planning a portrait. The goal is to not only understand how the light works, but WHY the light works the way it does. Knowing why the light works is the best way to figure out where the light goes in any situation.

The class is currently at 5.5 hours and will grow to nearly 7 hours of video by the end of the year. I am planning new shoots for each month until January, 2013. I hope to incorporate some of the questions and comments of the students in the next four shoots.

We have also set up a Flickr page (currently invite only) where we will critique, offer suggestions, help deconstruct and have an open conversation with the students. In addition, UDEMY offers a way for live lectures and Q&A with the instructors. I plan on having a live show twice a month – two time slots so we can get involvement from folks who may be in way different time zones.

As I stated, the course is for beginners and early intermediate photographers. They should have a working knowledge of their cameras, and how to work the flash mechanically. There is a suggested gear list as well, but it is small and basic. No need to spend hundreds of dollars when simple gear can get the job done.

I am including the low-res version of the workbook as it currently stands. I expect it to nearly double as we answer questions, discover some new and interesting tricks, and add more shoots/demos/discussions to it. However, that workbook is for the students only.

Please feel free to download this low res workbook to see the images we are looking at in the course. If you are comfortable with the style, and would like to know how to repeat these lighting situations, this course is for you. If you are totally sure how to do these images, it is not the course for you. (I don’t want advanced shooters being disappointed. However, two pros who have reviewed it said they learned a couple of things … heh.)

Now understand that I am not a ‘video’ guy, and the small cameras are not broadcast quality. But we do have good video, and good sound, so the information is imparted … and that is the goal.

I hope you will take a look at the materials and if the course looks like something you would be interested in, check it out.

Tiffinbox readers get a discount of $20 off the regular price of $50. I have given Seshu 50 discounts for the readers of his blog. Simply follow the link or enter the code: “Tiffinbox” into the coupon code when enrolling.

I attended Don's workshop some years back in Boston. He knows his stuff and his love for teaching is very obvious. I do hope you will take advantage of the discount and sign up for his course.