John Pyle Photography specializes in High School Senior Photography and is a three time national senior portrait artist (spa) winning studio. He and his wife, Sallye Anne, own and operate John Pyle Photography in Columbus, Georgia and enjoy their soon to be 2 year old daughter, Julie Anne. Follow John on Twitter.

When I first began specializing in seniors (about 4 years ago) weddings were the buzz in the photography world.  People were laughing because I was on “that Facebook site.” Others thought all you needed was “passion”, a 5D camera and a 1.2 lens to become a wedding photographer. Now it seems that everyone with a camera wants to photograph high school seniors. The marketplace and Facebook have become saturated with photographers tilting the lens to create images for high school grads. So how do you separate yourself from fan pages, logos, and self proclaimed “artists” in  a growing and crowded senior market?

My point is you don’t have to sink in a massive pool of mediocrity if you are doing what it takes to stand out.

Competition

Before full time photography I was in pharmaceutical sales. I sold one of the most popular drugs in the market with only one competitor for 6 years. When a new competitive drug launched, everyone was panicked that our market share and business would crumble. But the opposite occurred. Despite the drug being slightly cheaper than the one our company sold OUR sales grew! Why? Because there was more noise being made about the market, the drug, and the disease state it treated. Sometimes competitors can actually grow your business. Especially if your work and sessions clearly stand out. 

Yesterday a client told me she was surprised at how many “photographers” are on Facebook when she began looking to book a session. She also said that it was actually very clear who did quality work because so much of the “noise” coming across Facebook from other “photographers” was not ”good at all”. 

My point is you don’t have to sink in a massive pool of mediocrity if you are doing what it takes to stand out. This may start by educating your clients on what quality is and by valuing what you do. If you don’t value your own work then people aren’t going to randomly decide to value it for you. Worry about your customers while competitors worry about you. 

Know Your Customers

When photographing high school seniors you better target everything to seniors right? WRONG. Seniors are a unique population to photograph because you are essentially targeting several clients in one; seniors, parents, family, siblings, peers, classmates … etc. Meet with the seniors and their families prior to shoot to clearly define the goals, likes, and dislikes before a session. You want customers to be thrilled with your images, excited about the session and be proud enough to show off the images. Sit down and analyze your customers to include defining who you want your ideal customers to be.

I talk with a lot of wedding photographers who are frustrated that they aren’t attracting brides who value their work, invest in their business, send referrals, and praise them to friends on Facebook. Some are advertising 75% off of everything, giving away free books, free CDs, free engagement sessions, etc. That’s fine if you don’t need income. But if you do need income you can’t be afraid of the word “profit”. It is still a business and being blessed enough to create images and work in your “passion” is still not enough to pay for gas or buy groceries.

Knowing your customers means knowing business also. A great lesson to be learned is if you sell on price, what happens when you aren’t the cheapest anymore? And if all your customers choose you based on price then that may be the only thing they value about you. Perfect your craft and learn how to run a business.   

Social Media

When utilizing Facebook and a blog/website make sure you show what you want to shoot. If you are constantly posting images of flowers, babies, concerts, airplanes, the beach, brides, and parks while claiming to specialize in senior photography don’t be surprised if your senior business doesn’t grow. You can’t sell what you don’t show. 

Customers (current and future) don’t need to see 463 images from a session. Limit what you show and choose what you show very carefully. This includes personal pictures and information as well. Personal pages are as much business pages for people and political statements, bad jokes, angry comments, and insults turn everyone off. Remember teenagers, seniors, parents, and grandparents are on your Facebook now. It’s also a good idea to monitor the images you post online for inappropriate comments. Every picture we post we are tagged in for this very reason.  

Network

Seek out other businesses outside of photography including those that target your market. Find out what they are doing right, and what works and doesn’t work for them. 

Invest in yourself and your business. Joining professional organizations, online forums, attending quality workshops, and experiment with new styles of shooting and lighting.

These will all improve your business and your creativity. The days of secret locations, mystery editing techniques, and hiding in darkrooms are over. You cannot be complacent in the senior market.  

Finally seniors are a very rewarding population to photograph. They keep you young and force you to stay current. But you must enjoy interacting with people and creating experiences on your sessions if you want to grow this segment of your business. Seniors only graduate once. You can’t even say that about people getting married anymore.  

John Edgar is an internationally renowned wedding and portrait photographer who travels the globe documenting moments and creating art of his discerning clients. He is based out of the beautiful city of Toronto, Canada.

I’ve been take pictures for over 10 years, and worked as a full time photographer for 6 of those. I don’t feel that any topic has been more discussed than Nikon vs. Canon. In fact, the number one question I always get as a photographer is just that. Until last weekend, Canon was the only system I have ever shot. I started with a Canon 300D post college, picked up a 30D shortly after, and the day the 5D came out, I had one. I shot the 5D for many, many years until I recently switched to the 5D mkII and 1Series bodies.

I’ve been a prime shooter since day one, originally with the plastic fantastic (50mm 1.8), upgrading from the 1.8 to the 1.4, and more recently the 1.2. My daily drivers are the 35 1.4, 50 1.2, 85 1.2 and 135 2.0.

After much conversation at the Mystic 6 convention I came to the conclusion that I should at minimum play around with a Nikon setup to see what I think. It would be quite ignorant of me to stand behind my Canon love having never given Nikon a fair run, right? My friend Steve Sager agreed to let me come out and shoot a wedding with him, and bestie Tara McMullen agreed to lend me her Nikon gear for the day.

Full disclosure: I was sure I wasn’t going to like the system, but I resigned myself to the fact that I would indeed give it a fair shot, and leave my bias at home. I’m not an overly techie person. I understand camera and imaging technology but I don’t obsess over custom functions and AF point placement algorithms. I like taking pictures, and hope my camera for the most part “just works”. I guess as a result, my commentary won’t be particularly technical.

Armed with a D3s, 35, 50, 85 and 135mm lenses, I left my beloved Canon bodies at home and ventured off to shoot a wedding.

The Preparation

I arrived in the morning at the groom’s house to shoot preps. The family was Portuguese and everything was moving along quite quickly. This wasn’t anything usual for me, but I felt it was definitely a great opportunity to put the D3s through it’s paces. I like the 35 1.4 in the morning, for preps. It gives a great sense of place and as a result it’s almost always my go-to lens for that portion of the day. I stuck it on the D3s and started snapping. We were upstairs and the bedroom was quite dark. I didn’t have a flash on (mostly because I like to shoot available light) so I was pushing the ISO into the 1200+ range.

My first immediate and extremely frustrating observation was that the autofocus was slow to acquire a focal lock and to allow me to fully depress the shutter button. With my 5D mkII, it almost never hunts around for focus. With the D3s, I felt like it was just sitting there thinking about what to do next, while I was missing some great moments. To be honest, it really, really annoyed me. However, when it did finally acquire AF lock and I made an image, the focus was spot on. This wasn’t really something I had ever thought about before, and sparked an internal conversation of “would I rather have the image, but out of focus, or miss a few for something sharp” (more on that later). Generally, a pretty high proportion of my images shot with my Canon system are out of focus, mostly because it just can’t seem to focus on the right thing. This has been a frustration for a while and definitely my main friction point with the Canon system.

Nevertheless, I pushed on shooting. I was tweeting as I went and Paul Johnson offered some insight into a change I could make in the camera settings that would allow for faster autofocus. I made some quick changes, tested it out a bit and found the “continuous” mode to be quicker in low light. After making this change, I did notice a much higher percentage of out of focus images, but still plenty of usable frames coming from the camera.

My next realization about the Nikon system came as I moved from inside the house to the yard out back. I’m a manual shooter so I’m used to changing my exposure on the fly as I move around and the lighting conditions change. Over the years you become accustomed to knowing the settings you need by judging the light and your hands automatically find the settings and plug them in. For me this is something that happens almost subconsciously as I’m shooting. As I quickly ran outside and started shooting my fingers did the usual wheel turns and something struck me. I realized that in less than 30 minutes of using the camera, it felt second nature to me. Believe it or not, after 10 years of shooting on the Canon system I still sometimes get lost and turn things the wrong way or forget where a setting is. I was very, very impressed with how quickly I was able to adapt and learn the Nikon layout, and found it extremely natural and ergonomic. Hours in I said to a guest who asked me about the camera, “it really is a joy to shoot with.”

The Ceremony

After the preps we headed to the church. It was very dark and I wasn’t about to use the flash during a ceremony. This was the perfect time to test the higher ISO ranges. I sent a quick message to my friend Ryan Brenizer to confirm that the files are pretty clean around 6400 ISO before I went trigger-happy. He gave me the nod and with a smile I set the camera there and went to town. I shot for a bit and then zoomed in to 100% and checked the shadows. Just as Ryan had mentioned: very, very clean. I kept my exposures solid if not slightly to the right and shot the rest of the ceremony 3200/6400.

I had decided to shoot the whole ceremony with 135mm lens. Having had a morning filled with slow AF I was a little worried about it, but plunged in never the less. I switched out of continuous focus back to single focus because my morning tests had left me with a feeling that S was slightly more accurate, and I could afford to slow down a little during the ceremony. As I shot the ceremony, I noticed almost none of the AF lock lag I had observed in the morning. The quality of the light in the church, while dim, was quite a bit better. The shadows were more even, and had less contrast. Without knowing the in-depth technical aspects of AF, my gut feeling is this helped. After shooting I went through the frames on the back of the camera at 100% zoom checking the focus. I noticed that about 85% of them were sharp and focused as I expected. This is about 30-40% better than what I generally experience off of my Canon bodies.

The Photo Session

In “Canonland” I shoot 90% of the photo session with the 50 1.2 so I decided to shoot with the Nikon 50 1.4 I had. I immediately noticed that the bokeh was totally different. At first I thought I had my aperture set wrong, I wanted to be wide open but what I was seeing looked like I was at f2/2.8. (I’m not going to debate the merits of bokeh here, that would be stupid. It’s all personal preference.) Going back over the images and looking at my Canon work, I personally like the look of the out of focus areas on my Canon glass much much better. I switched over to the 35 1.4, and set it to 1.4, again I really didn’t like the way the glass rendered out of focus light. It was also during the photo session that I noticed the general hue of the image was drastically different than what I was used to seeing on the back of the camera. At that point I didn’t know if that was the RAW rendered jpg, the screen, the light I was in, my eyes or what. Having now looked at the files side by side in ACR I definitely feel that a CR2 file has more of a magenta hue to it than a NEF. Nikon raw files generally seem warmer/orange. This is also to my mind a hue difference, not simply white balance related. I don’t really have a clear opinion on that either way at this point, so I’m merely making the observation. Do as you will with it.

The Reception

After the photo session we headed to Liberty Grand where the reception was held. Anyone local to Toronto knows how brutal shooting in this hall can be. The ceilings are dark wood and a good 30 feet high. Bouncing isn’t much fun in there, but if you aim for the walls and get the angle right it’s doable. I’ve shot the venue 20+ times so I’m used to it, but I wasn’t used to the SB900. I was told to keep it in manual mode because it sometimes overheats and shuts down in TTL. This initially put me off a bit, but I compensated for it manually and it was fine.

As I shot, I found that my ability to pull in a lot of ambient light was great! The high ISO I used gave me much more flexibility with the flash than I usually afford myself with my 580EXII. I really liked the exposures I was getting. At one point during the evening the flash batteries died and before I had a chance to replace them, the father of the groom pulled me over and demanded a quick shot with some of the groomsmen. I didn’t have batteries in my pocket so I thought “to hell with it” and cranked the ISO into H1. It was almost pitch black and the (very) intoxicated groomsmen wouldn’t stay still. I grabbed a few frames and I was pleasantly surprised with them. The final image will have to be presented in black and white, however it was sharp and fairly well exposed.

As I finished out the night, I felt the strain in my arm. The camera is more weight than I’m used to for a 13 hour day and my wrist was starting to ache a little. If I’m to do this for another 10-15 years I feel heavy bodies are going to cause some long term damage to my right hand. Many of my professors from school now have bad carpal tunnel and arthritis from shooting for 20+ years. I guess the alternative is to shoot a D700/D3s combo, as it’s a much lighter body.

The Post

When I got home I went over some of the files: zoomed, cropped, pushed, pulled, starred and un-stared. I spent a good few hours figuring out what I liked and what I didn’t. So here is what I’ll say:

The AF focus system is, at worst, much better than anything I’ve experienced with Canon. In continuous focus mode, while a lot of the AF lag is gone, so is a lot of the accuracy. That being said, I still found more of the images to be in than out or at least acceptability soft. During the photo session, shooting with good light in AF-S, the focusing was almost always spot on.

The flash system is good. I know some people hail it as the second coming of Christ, but I truly believe the 580EXII is just as good as the SB900. Feature wise, it does have some nice fancy do-das that the 580 doesn’t, but in terms of just taking a good solid exposure the systems are very, very comparable.

The high ISO noise tolerance on the D3s is unreal. That’s all I need to say about that.
I personally find the layout of the D3s to be fantastic. A lot of the button arrangement and menu options make much more sense to me than the Canon design. For example, where Canon will use a 3 finger strain voodoo dance menu wheel scroll push setting change, Nikon simply has a toggle switch.

Now I realize this is just my personal opinion, but I do not like the bokeh. And as an artist/photographer/whatever, I rely heavily on depth of field as a pivotal element of the work I produce. This will be the main reason I wouldn’t switch systems. Canon has great glass. The colour clarity, the way it renders flair, the out of focus areas, the contrast and general “look” of the images from my Canon are what I fell in love with, and continue to love.

In the wedding space I feel that if those “artistic” elements of photography (that transcendental feel and quality of the image that you just can’t quite put your finger on) are important to you as a Canon shooter, you might find a switch frustrating. If you are a photographer who is very methodical, photo journalistic, technical or moment driven then you should without a doubt be shooting Nikon right now. However I am truly in love with the look of my Canon glass. I’m willing to over shoot and deal with weird white balance and a total inability to focus to have that.

Call me stupid, and maybe I am.

“Popularity does not dictate quality,” says this one Mashable article which coincidentally compares Canon v. Nikon. Check out the infographic. What are your thoughts? Have you given both systems an honest, unbiased try? Tell us your experiences with that “other” system. Go!

UPDATE: John wanted me to let you know that the images presented here are SOOC – Straight Out Of Camera – with the only exceptions being that they were scaled down and sharpened a tiny bit.

Most of you probably already know who David Hobby is. He is a photographer, teacher and founder of the Strobist Movement, which encourages photographers to use their flashes off-of their cameras. His website Strobist is the go-to place to learn about off-camera flash techniques. His new project is HOCO360 – A Visual Journal of Howard County, Maryland, where he lives.

When David and Joe McNally decided to embark on The Flash Bus tour through the United States, I had to go. Boston was the closest of locations for me and so on April 9, I drove up to listen and watch two masters at work at the Boston Marriott Long Wharf.

Both David and Joe graciously allowed me to speak with them for a few minutes. In this post, we hear from David. He talks about creating a community and his new project.

All of this was arranged by Jeffrey Snyder of Adorama. So I am very grateful to him and the company that is truly there for photographers worldwide. Adorama is where I buy all my camera gear. Customer service is great and the price is right.

Watch the video and post your comments!

The Flash Bus tour wraps up soon, with most of the cities already sold out. The presentation in Boston was house-full. These guys not only know their stuff, they also know how to entertain. The repartees between them kept us all laughing out loud often. Now, if you can't make it any of their last remaining presentations, please consider buying David's Lighting In Layers DVD and Joe's The Language of Light. You will get a sense of what it is like to be in the audience from these excellent resources. I bought them and will have a full on review here soon. [Both are affiliate links. Support this site, buy through the links please!]

This guest blog post is by Robert Norman, a wedding photographer based in Trumbull Connecticut. He has 21+ years experience as a professional photographer and has photographed models, actors, President Obama, celebrities and, a zillion weddings. He does a fair amount of travel photography in an effort to keep his sanity. He has photographed events throughout Connecticut, New England, New York as well as Ireland, London and Italy.

I recently returned from Inspire Boston – a really cool 3 day conference in Concord, Massachusetts filled with learning and networking.

It also filled my pockets with a ton of business cards.

I’ve been researching a way for quite some time now to digitize all of my collected business cards. For years I kept them in an ever-expanding card binder; handy but not practical to reference on the fly. Last year I looked into Evernote, one of my favorite apps ever, which you should definitely have on your phone or use at home online!) But while I could scan cards, get them in there and access anywhere – there was no database per se where all the info would go into. It was just a bunch of scanned cards. (not to mention that their free service limits your monthly uploads, which I blew through by mistakenly scanning the cards at WAY too high a resolution! OOPS!! I have since upgraded to the $50 a year plan, which substantially increases your monthly storage space.)

Then I looked into Shoeboxed, but found their system of paying and mailing in cards so they could scan them kinda clunky and didn’t allow me to easily add a card or to. They also kept calling me which while potentially helpful, I felt quickly became too much a sales call for an upgrade or something of that nature.

I also kept seeing the NeatDesk scanner advertised, and almost hit the ‘buy now’ button on Amazon on many a late night shopping frenzy. But after reading the reviews, a lot of folks seemed unhappy with the NeatWorks software for the database. The unit is also $200-$400 which was expensive enough to give me pause.

So I think that I MAY have finally found the solution with CardMunch, an iPhone app that lets you photograph business cards and then adds it to both it’s own database as well as your contacts, automatically! They CLAIM that ‘real people’ (as opposed to Fake People) are on the other end checking that all the info is correct, which may be true but hard to believe as the app is free (maybe they hire prisoners?)

Still, it’s easy to use and actually pretty darn accurate. Only a few cards did not read properly – generally where something is REALLY small, or the contrast between the ink and paper are low. Also since you use 4 brackets to ‘frame’ your card before it automatically shoots it, certain oddly shaped or proportioned cards would not read (including my own card!). CardMunch is unhappy if the object doesn’t neatly fit in the specified area. If the card does a partial read, the contact comes up as ‘unknown contact’, which you can then go in and manually correct. Since the ‘real people’ are overseeing this sometimes it can take a couple of hours for the contact to be added to your phone. It also is suggested you use it only with an iPhone 4 as the camera focuses at the distance needed which the previous iPhones will not.

StillI gotta say – for a FREE app, CardMunch works pretty great, and I’ve even venture to say that I’d pay for it (did I say that out loud?)

Tell us, what do you use to corral your business cards? How do you keep track of all your contacts?

Blogs began as personal journals – ones that were kept private or open to the world. Now they are so much more than diaries. They are a way of communicating with your clients. Call it “marketing” if you will, but it works. If you are in need of learning something specific, there is likely a blog that covers that niche.

Photography is no different, though there are tons of photography blogs out there, including this one. What I've envisioned, of course, is to make this site truly community driven. That means hosting guest bloggers, entertaining opposing viewpoints in the comments section and being open to suggestions on making this site better for everyone.

To an extent, I have to be careful about what I publish and even promote. I am contacted virtually every week by a vendor looking to have her or his products and services mentioned here. And I am happy to promote them if (and it's a big IF) the products and services are truly helpful for other photographers.

There are times when I am sent review copies of magazines, books, scripts and Photoshop actions. Obviously, once these are sent to me, I get to keep them. If I am sent camera equipment to test, I do have to return those of course. While I am open to receiving these gifts and opportunities to review items, I am clear on one thing – if the items do not meet my standards or aren't going to be very helpful for other photographers – I reserve the right to not mention it here. Does that sound fair to you? There is little or no point in berating a product or service in public when we all know that we are all just trying to make a go of it. I do and have in the past emailed the vendor privately with my thoughts. So, please be sure that I do act as a filter, for your benefit.

The blog post about creating blog montages was clearly helpful to Richard Esposito, a Connecticut-based wedding photographer. Read his testimonial below:

“Thank you for the suggestion with using Storyboard! I used to do these collage type blogs in the past and it was way too time consuming. I just gave up. I write actions like this all the time, but I didn't have the time to even think this up. The Storyboard script for Photoshop is beyond just an action with all it's options. I purchased it and it will now be a big part of my blogging workflow. As you know, I'm a bit of a workflow junkie. Thank you Seshu and Storyboard! I'm loving the Tiffinbox blog.”

Or, this one by Stacey Doyle on Twitter just today:

I am loving @brandcampblog's Circus Circus to help me with my writing! Thank you @PicSeshu for your review! http://bit.ly/ewlClz

So, here is my question to you – Do you love the products and services mentioned here on Tiffinbox?

Was it an e-book like Ed Verosky's series on Taking Portraiture To The Next Level or Stuart Little's recent tutorial on creating rounded corners in Lightroom 3?

Tell me which blog posts you have found useful. Would you like to see more reviews, tutorials, or both? Email me at seshu at tiffinbox dot org. I look forward to hearing from you all. If you have suggestions on products and services that you feel photographers would find useful, please contact me as well. I am always open to learning about what is out there.