This is a guest blog by Sean Low, President of The Business of Being Creative which “provides practical business advice to those in the business of being creative.” You have got to follow Sean on Twitter.

Of all the issues confronting creative businesses, photographers included, pricing tops the list. Always. What to charge? How to charge? Can you charge? When to charge? If only there were a right answer. Unfortunately, there is not. However, there is definitely a wrong answer.

If you are not transparent and do not have a pricing model that supports your philosophy, you will go broke in a hurry. Why? You will never be able to create the trust with your client necessary for you to do your best (or even adequate) work. If you are trying to “bury” expenses and/or profit in a single number or “package”, your clients will sense it and will (rightfully) question your integrity. They will be waiting for the other shoe to drop, even if there is no shoe. So the better question to ask yourself is: have I communicated the value of my art and does the way I do things support that value.

You can earn a fair return if you a transparent with your pricing and your business model.

Fundamentally, photographers are in two businesses: 1) selling the act of creating the image; and 2) selling the products derived from the image (i.e., prints, albums, etc.). In a perfect world, a photographer would be able to make money on both businesses. However, in the digital age and with competition the way that it is, it is increasingly difficult to earn a fair return on your investment of time and energy in either business.

The pricing pressure on the act of creating the image has never been greater. You need only take a look at Groupon offerings by photographers to witness the price of creating an image approach zero. On the other hand, services like the Album Boutique make it very difficult to extract value from selling products associated with an image. Moreover, many clients are placing photographers in the very difficult position of having to give up control of their art and just turn over a CD of hi-res images. Just say no.

To move forward, you have to bring integrity to your process. You can earn a fair return if you a transparent with your pricing and your business model. You should be able to say to your client that this is what you need to create your images. If it means having a second or third shooter, then you should lay this out too. Despite what you might think, clients do know you are in business and have to pay things like rent, utilities, payroll, etc., so if you do tell them that you charge say fifty percent on your and your staff’s time they will probably accept it. Likewise, if you require a certain quality of album be purchased (it is the legacy of you and your art after all), they will likely accept that too. Again, you are entitled to earn a fair return on your investment of time and energy – enough to sustain your business. The key is to be transparent to what that is with your clients. Transparency builds trust and is really the only currency you trade in.

Ignore those that would compete with you solely on price. Focus on what you offer and why you do things the way you do. Be uncompromising when it comes to the integrity of your art and completely transparent in what it takes for you to create it. Your ultimate value has nothing to do with the price you charge and everything to do with how you communicate. Those clients who need (read: not just want) your vision will pay for it. It is up to you to move them from want to need.

It's your turn to sound-off. What are your challenges when presenting pricing to your clients? How do you approach pricing – is it transparent or do you make it difficult for your clients to get a good read on you and your business? What issues do you encounter when discussing pricing with your clients?

This is a guest post by Paul Gero, a wedding photojournalist based in Orange County. Paul is also known for being a terrific writer, speaker and teacher. He, his wife Nicki and now two kids are wonderful people to know.

Having been in photography for a little while, I find that the work falls down into basically two approaches: Control and Chaos.

Doing Control type work is about setting up, posing, lighting and forging a bond that elicits the desired response.

Much of the commercial world and a lot of the wedding and portrait world is in that category of Control.

A few reasons why it might be so popular:

a) The desire to create an image that looks familiar (and with the web more images are shown and seen than ever before).

b) The desire to create an image that you know will be client pleasing and you know will sell.

c) A newer photographer with new found skills and less certain about capturing things “on the fly”.

The Chaos approach has been around for decades practiced by many of the greats including Henri Cartier-Bresson, Josef Koudelka, Larry Towell and others.

Many of the great photographers from the famed photo agency Magnum work in this manner. These are some of my favorites primarily because of the way the see the world, the moments they capture and the way they structure their photographs.

It’s a style that takes practice to master. It's about looking, watching, spending time in the field with a camera, and anticipating — it's not always reproducible, but it will always be interesting. Serendipity is a huge part of the equation of Chaos photography — that can be scary but also hugely rewarding.

It takes thinking about how you'll approach a situation from where you position yourself in relation to your subject, where they are in relation to the background and what focal length you'll use to make this type of photograph.

I recommend to my students is they watch people especially as they gather at a mall, for example. Notice how they stand, how they greet people (and cultures are different).

Then when watching those interactions think about where you would need to be to make a great photograph of that situation. What lens would you use? How far would you be from the subjects?

Selecting a spot to stand in relation to your subject in the Chaos realm is important. This location along with your focal length determines how much context will be revealed in the photograph. And typically you’ll want to see that subject’s face in order to capture emotion (the eyes reveal the soul, as they say). That often means being in front of or to the side of your subject.

When I worked in Washington DC and covered events with the President, it was interesting to watch how the Associated Press determined their coverage and would station a photographer front and center of the President. That was a safe angle, and often times the best angle.

They would position another photographer off to the side for most events — that 45 degree or called the “cut away” angle.

This angle adds depth to the photo as the subject to the right or left of the President would often be slightly out of focus (with a telephoto lens). It would be a good angle if the President was looking in the camera direction, and perhaps less successful if he were to look to the opposite side.

Selecting the angle behind your subject is a lower percentage choice, but can be useful as this position gives the viewer a sense of “walking into the sunset”, or leaving. That aspect makes it useful and can help creating a natural looking end to a story.

While observational skills and camera position are critical to successful Chaos photography so is being in control of your technical skills.

Knowing light, knowing exposure, knowing when to trust or not trust your meter all play into that role.

Many photographers use the auto modes on a modern camera to “set it and forget it” and while that can work and does in many cases, there are times when it can get you in trouble especially if you’re not paying attention to the choices made by the camera or get sloppy in where you meter and hold the exposure value.

When I choose my working settings, I start from selecting aperture first, in order to create the look and depth of field on the scene (especially using wide or normal lenses).

My shutter speed choice then coincides with a good exposure for that scene based on the ISO (typically using the lowest ISO for optimum quality while still being able to get the desired shutter speed). I also consider the amount of movement in a scene in order to select the appropriate shutter speed to stop the action.

Lens selection is critical for Chaos photography.

Much of what I call the inspirational photography in this genre is often made with simple focal lengths, either slightly wide or normal (i.e. 28mm, 35mm, 50mm lenses on 35mm cameras). Rarely do you see a lot of this work done with extreme wide angles and extreme telephotos.

These lens choices also force an intimacy with your subjects in terms of your position to them. It’s much tougher to hide when you’re using a wide or a normal focal length lens, as is possible when using long zooms or telephotos.

When you’ve become really disciplined using one, two or three focal lengths, you begin to see the world taking place on the stage for those lenses. You get comfortable framing with the the imaginary lines of those focal lengths.

Zooms are popular and can be useful tools, though I find that primes often help photographers hone their vision especially when learning. It forces you to move to frame, rather than zoom to frame.

I know for me when using zooms I have to be very disciplined to not just zoom out when I should be moving my feet to frame. In fact, I try to use the zoom like a prime and determine the focal length I want to use, set it on the zoom and then move to frame but not zoom unless I absolutely must (especially with a zoom such as the 24-70mm; less so with a long lens such as the 70-200mm).

Metering light which then translates to a great exposure is critical especially in fast-moving situations.

I find that using an old school incident meter is great in this area. It allows me to dial in the exposure so that helps exposure consistency from frame to frame. Even if you only use an external meter for a while as you learn the patterns of lighting, I think it can be extremely useful.

This gives you one less thing to think about because you’ll know that exposure is handled.

Look at the scene and anticipate what would happen if you change position or your subject’s change position. Think ahead and pre-visualize where the subjects might go can help you successfully handle any change in exposure.

I can’t stress it enough: Exposure is a critical component to successful photography — and especially digital photography.

To paraphrase my instructor, famed National Geographic photographer William Albert Allard: You have to get your exposure dialed in because you’d hate to lose a portfolio photograph due to a lousy exposure.

He was right when he told me (and we were shooting transparency film) as he is today if you’re shooting digital.

What I enjoy most about Chaos photography is that it’s more about capturing life as it happens, as opposed to having it set up by me. It takes more time for this to work, because you have to be able to witness things — having a five minute window with a subject often precludes that and reduces you to do Control work.

I find that life is so much more fascinating and people do much more interesting things than I could ever set up.

I loved to be surprised when looking through the lens and use that as a guide to know if I'm in the presence of an interesting photograph — if it moves me, excites me, or causes an emotional response in me while I'm photographing, it will usually translate in the actual photograph.

Perhaps folks who prefer Control photography are not certain that good or great photos will even materialize therefore they want to ensure that they do.

All I can say from years of experience is to trust that they will — if you have time. Wherever people gather there is a potential for great photographs. And you will often be surprised by the photographs these subjects give you.

The human element makes that happen. The energy from an event makes it happen. You just have to have faith that you’ll see those moments when they happen and using your skills acquired from practice and observation, you’ll be in the right place at the right time.

Knowing how to create nice Control images is a part of the modern photographer’s tool box, no doubt, but I think it should be a piece of the box, not the whole thing.

Practice your observational skills and your technical skills and be prepared to be surprised with the beautiful and incredible chaos that is life and then capture that feeling with your camera.

What kind of photography do you practice? Do you agree or disagree with Paul? Your comments below will create a dialogue that I will welcome here on Tiffinbox. So please take a moment to tell us what is on your mind. We're listening to you!

Flash Forward Festival runs from October 6-10, 2010 in Toronto. It's a biennial festival for emerging photographers from Canada, United States and the United Kingdom.??

“Ultimately we want to see photographers making connections, getting jobs, having dialogue with some of their international counterparts.” – Emily McInnes, Co-Director, Flash Forward Festival

This is a guest blog by Sarah Petty, a marketing whiz, who grew her photography studio to one of the most successful in the country in only five years. She eats, sleeps and breathes marketing. You can now learn from her and many other talented photographers at The Joy Of Marketing.

Clients have needs too.

Would you go into a hair salon and sit down in the chair and let them go to town? Of course you wouldn’t! The stylist typically asks you many questions. “Did you like what we did last time?,” “Do you like the color?,” “What length do you want?,” Do you want layers?” And what do you do? You tell him/her in as much detail as you can, exactly what you want! Sometimes, you even bring photographs or magazine clippings.

So, now you are a photographer and you had someone call and want portraits of their children. They come in, you photograph them and then a few weeks later you are in the sales room fielding objections like crazy. “I was hoping for two vertical images,” “I don’t hang photographs on my walls,” “I really wanted the two kids together and you only photographed them separately.” All three of these objections could have been eliminated had you simply ASKED THE CLIENT WHAT THEY WANTED!

If you ask, people will tell you their needs.

One of the most important elements of having a successful sales session is to conduct a needs analysis in the very beginning. Like in the haircutting example, people want to tell you what they want because they want you to please them. They called you for a reason and it is your job to extract that reason from them.

So where do you start? Well, for me, I do everything in my power not to have a session without having an in-person consultation. That is where I can ask all of the right questions and discover what the client wants. Sometimes, the client doesn’t even know what they want until I help uncover it. Sometimes they come in wanting one thing and they leave with clarity after discovering that they really wanted something else. Many times, until they see it, they have no idea that they even want it. Whenever I get the objection “I really can’t come in because of my schedule or because I live far away,” I tell them that others have tried that but what they found was that they would come in on the day of their session, see something on the wall that they love yet they are dressed in the wrong clothing. That usually gets them in because they don’t want to miss out on an opportunity to have something they love!

For me, I would rather do fewer sessions where I can spend more time with my clients finding out what they want and then creating it for them. It makes the sales presentation go so smoothly and it helps increase sales averages. In turn, this means you work fewer hours and have an increased quality of life!

Because the sales process is SO incredibly important to running a successful small business, we have created an event at thejoyofmarketing.com called 10 10 10. This is a free, online event on October 10, 2010 from 10 am – 10 pm CST where you can learn from 10 industry leaders about how to increase your sales. The topics will start at the first phone call, through the in-person consultation, how to shoot to sell, managing the sales presentation and follow up after the sale to create loyalty and generate referrals. Here is a list of the speakers: Julia Woods, Jessica Claire, Joy Bianchi Brown and Jules Bianchi, Sandy Puc, Kia Bondurant, Scott and Adina Hayne, Tim and Beverly Walden, Kevin Kubota, Ron Nichols and Sarah Petty.

Register for the event.

We will also be trying to generate enough money to provide clean drinking water for 1010 people so be sure to check back at our thermometer and grab some free speaker resources while you are there!

The event is sponsored by White House Custom Colour and we will be giving away 10 FREE things from them so be sure to Tweet #101010 and read our daily blog!

Sarah is giving ONE recording of this event to a lucky Tiffinbox reader. This is what you need to do to win. 1) Tweet the following message: “I'll be listening to @SarahPetty and 9 other speakers for FREE on 10/10/10 about SELLING. http://tjom.cc/a/322 #Tiffinbox #101010” 2) Comment below and include your Twitter handle in your message. Tell me WHY and HOW the Salessummit on October 10, 2010 will help your business. If you post anonymously, you can't win. You need to be using a valid email address as well. And yes, there is an affiliate link associated with this giveaway.

This is a guest post by Iurie Vlasov, a Marketing professional at Vitriol Consult LLC specializing in SEO and Innovative web-marketing.

On August 23, the world of photographers was touched by a piece of news that created quite some buzz – a totally new and innovative proofing system was to be released in October – ProofPress. You may be wondering what is the point of another photo cart when there is a myriad of different other products for online proofing available out there. Read on and you will understand!

“Design is not just what it looks like and feels like. Design is how it works.” ~ Steve Jobs

The creators of ProofPress, two young dashing individuals from Florida with an extensive experience in web-development and who specialized for years in e-commerce systems have come with an idea to create something different for the photographer. There is nothing new when it comes to photo proofing systems, and most of them already out there are very similar in functionality, but different in quality and price. ProofPress on the other hand was created with the end user in mind. But there are two end-users to a photo cart system you will say. Indeed, there is the photographer on one end who has the task of managing the system and the customer on the other end. Many photographers today are just too busy to deal with all the “advanced” functionality their current photo proofing cart provides, and may give up on using one for the sake of saving time and use the old-school “on-the-phone” method to get their print orders from clients. So much for saving time.

Now back to those two guys in Florida. What they did is to have an idea that was revolutionary. Being developers and not photographers they got in touch with a few portrait and wedding photographers and spent time talking and understanding what their needs were and what is that they miss most in their current systems. After many hours and tens of pages of sketches and charts and mockups etc. they finally decided to give the modern photographer a system that would work directly out of their WordPress blogs. Not bad, because 85% of the photographers out there use WordPress for their photo blogs, because it's reliable, because it's easy to use, because it's safe, because it's constantly developing and updating, and yes because – Google loves WordPress.

Well, here we go, why not have a proofing system that will work as a plugin from your WordPress administration back end. No need to remember different passwords for different admin accounts, no need to have a multitude of admin urls to remember, but instead just one plain WordPress backend. And that is what ProofPress does, installs as a plugin in your WordPress and opens a whole new system in there. The guys jokingly call it, “a system inside a system.” But be aware that you need to have a self hosted blog on an actual domain that belongs to you and NOT one of those “johndoe.wordpress.com” blogs.

That is all good you will say, but what makes it so special? My answer is simple here, it will indeed offer what most of the systems out there do right now but will also be packed with other features:

a) Full front end customization, you as a photographer will be able to customize your proofing site by editing a multitude of options, like changing your logo, background, fonts, colors you name it… and the system will also be compatible with custom created templates. Now you will be able to apply your branding and design and have a unique photo cart.

b) Per client management. No more gallery grids. Each of your customers will be provided with his own client site where he will see only his galleries and information that you provide, including a text page which you can edit the way you want by adding a model release form, or maybe some what-to-wear information

c) A revolutionized way of managing collections (packages). ProofPress will offer the most flexible way of creating a collection. Managing print credit, discounts etc has never been easier and you know what, you can even let your clients create their own custom collections.

d) You will also be able to manage your financials and send invoices directly from your administration panel which gives you some basic accounting features and you will always know the state of your expenses and profits. A great feature for beginners who don't really need a bookkeeping system like Freshbooks etc.

These are some of the many features that ProofPress will offer. Stay tuned for the official press release the guys will publish in the beginning of October. Meanwhile you can contact them via email at info@proof-press.com and sign-up for a 30% discount at ProofPress.

The Front End:

The Back End:

Win on 10/10/10! ProofPress is generously offering ONE free license to a Tiffinbox subscriber. Here is how you may be able to win this WordPress plugin: First, Tweet the following: “I just learned about a very cool WordPress plugin called @ProofPress on @PicSeshu's Tiffinbox. #ProofPress Please RT!” Second, comment below and tell me WHY you deserve to win. Don't forget to mention your Twitter handle so that I can make sure you have done both. I need to see a minimum of 50 real, honest, entries before I can give this away on October 10, 2010. So whatchawaitinfor?

WINNER ANNOUNCED – Kate McKenna – from Medford, MA has won ONE license of ProofPress, the forthcoming WordPress Plugin. Follow her on Twitter. Congratulations Kate!