A Tiger Doesn’t Lose Sleep Over The Opinion Of Sheep

While winding down my evening, I actually found intelligent life on Facebook (or at least someone with the good sense to post this quote.)

"A Tiger Doesn’t Lose Sleep Over The Opinion Of Sheep."

You're thinking "What's so great about that?" Let me tell you why this is something photographers everywhere should embrace.

It seems that almost daily there are new photographers popping up everywhere. The photographers who are already in business often cringe and then make a comment about "mommies with cameras" or "wannabees" or something along that line. In many cases, they feel their own business is being threatened by someone who has moved into the area, purchased a DSLR and a copy of Elements or maybe even Lightroom, and is not telling people they're professional and undercutting the market with their pricing.

These new photographers often have minimal training or feel that since they've watch a class online, they now know what they need to do. Some are offended at the thought of raising their pricing to a decent level, championing the "I want photography to be affordable for everyone" cause, even though it will ultimately cost them their business.

The funny thing is, many of those who are complaining the loudest are the ones who were the most recent newcomers before this batch came along. "OMG, this new person is selling a DVD of images for $100!" (even though they themselves have just been educated to the point where they have stopped selling files and now sell product.)

You can almost watch the herds wander one way and then another, often following each other blindly. None of the "sheep" really know where they are headed, but there's always one who will garner enough attention to get everyone to follow them for a short period.

Now, notice how those who are established in business react. The experienced professionals go about their business in a steady manner, keeping a watchful eye on those around them. Because the tiger has his foothold in the jungle, he isn't concerned with the antics of those around him (unless it's another tiger.)

Jump into any Facebook photography group where this very thing is being discussed almost daily. The responses are nearly identical and come in chorus-like fashion.

"I can't compete with that!"
"Don't they know they're losing money?"
"Should I lower my prices to match theirs?"

Then someone with experience and the voice of reason will pop in and drop a pearl. 

"People make decisions based on quality as well as price. When you put these two things together, it's called 'value'. That's what good clients really want."

Set yourself apart from the sheep of the industry. Be the tiger and take care of your business first.

Selling Only a Disk of Images is a Disservice to Your Clients - Part 2 of 2

So . . . why do photographers say that selling only a disk of images is a disservice to your clients?

As long as we're on the subject of selling a disk of digital images, let me tell you a true story.

A funny thing happened to me last December . . .

I had a colleague from another FB group hand me a session he couldn't cover because he was going to be out of town. He'd told the client that he'd photograph her family and "give her the files" for $300.

During the session, I mentioned to her that I could honor his original agreement, or I could walk her through the ordering process the way I normally do.

Her first question was "What do I do once you give me the disk of files?"

This wasn't a dumb woman; this was a woman who is a corporate executive. However, she doesn't have access to the labs we do, she doesn't know about mounting or finishing. She just wanted a nice family portrait on the wall.

She and her husband returned to the studio to view the images. We went through the view and order process together . . . and $1200 (yes, twelve hundred) later I had an order. A framed wall portrait, some smaller gift prints and a boatload of greeting cards later, she walked out with a huge smile and I had a happy client.
The truth is, many people simply don't know what to do! We - as professionals - are doing them a HUGE disservice to hand over a folder of files. "Edited" or not . . . they have no clue!

It would be like going to a restaurant and having the server thump a raw piece of meat and some uncooked vegetables in front of you, demanding the price of the finished meal in the process.

Operating a service-oriented professional photography business does not mean shoot and burn! It means helping your client place the order and getting them the product they really want.

If you're not willing to help them with this process, who will? If it's too much work for us to do, how will someone who does NOT have the software and knowledge be able to figure it out?

Take the time to work with your clients and help them get to their ultimate goal . . . printed photographic products they can enjoy and display for years to come! 

- David Grupa 
 

Selling Only a Disk of Images is a Disservice to Your Clients - Part 1 of 2

Photographers everywhere say that selling only a disk of images is a disservice to your clients.
 
It's a daily debate in the professional world. Do I print photographs, or do I sell images on a disk?

Personally, I feel that any photographer who only sells digital files is doing their clients a huge disservice.


People will tell you they want the digital files "so they can save them." The fact is, they remain packed away or in this case, held captive on a hard drive . . . never to be seen by anyone.

My mom died last September. In the process of cleaning out her house, we found thousands of color slides and black and white negatives. Boxes and boxes were stuffed onto shelves . . . and what did we look at? The photographs that were already printed. Why? Because they were easier to view! We didn't have to pull out a projector for the slides or try and view the negatives on a light table.

Most insurance agents will tell you that the one loss people lament the most after a fire or flood is that of their photo albums. It simply robs them of their irreplaceable memories.

So . . . think about it for a minute. How many people do you know personally (not just the ones you read about online or see on the evening news) who have lost everything due to a disaster such as this? Maybe one? None?

Now, think about all the people you know personally whose hard drives have crashed. I'm willing to bet you can think of 3-4 right off the top of your head.

When I do a bridal fair, I bring along a crashed hard drive to illustrate this point. It sits on the table with a little tent sign saying "I'm going to put these images on my hard drive so I'll have them forever." I also have a 5 1/4" floppy disk (remember those?) with a little sticker that says "What if this was the only way for you to view your parents' wedding photographs or your childhood memories?" CDs and DVDs are on their way out as well . . . they'll be history within a few years. Apple isn't even putting DVD drives in their new computers.

The point is . . . whether they are snapshots or professional portraits, your images deserve to be printed and viewed, not stuck somewhere in limbo waiting for you decide if you want to do something with them later.

Print photographs! 

- David Grupa 
 

On Your Blog: How Many Images is Enough?

Recently, a question was asked in a Facebook group ; how many images should someone put on a single blog post?

This is one of those areas where I think many people go overboard. Some blog posts have so many images and so much repetition, I'm clicking out before they even load. Really . . they don't need to be so big, and there certainly don't need to be 15-20.

If you feel the need to show more than a few, my suggestion is to build a collage that has multiple images, then upload it as a single file. It's more efficient use of your time and your blog space.

You have to think of it from the perspective of the viewer; if you were to interview them after having read your blog, would they remember a specific image, or did the impact get watered down by overwhelming them with tons of images?

You want them to remember you for something awesome. Show them 3 awesome images, and they'll remember. Show them 20 average images and they won't remember anything.

The problem is that we as photographers and artists fall in love with our own images. We had the experience of the session and become attached to these images. Our clients do the same.

However, random viewers on our blog look at this proliferation of images to which they have no emotional attachment and think "yeah, they're nice . . . <yawn> . . . this is the same one, only in black and white . . . <yawn> . . . why are there 5 of almost the same pose? . . . <CLICK!> . . . I'm outta here."

Pare it down to a number that's reasonable. You don't have to show 20 and you definitely don't have to show an image in both BW and color. You're the artist; you make that call.

That's why the collage idea works well . . . you can put a half-dozen images together and display them; boom.

It's about keeping the viewer engaged, not trying to show them every image from the session.

- David Grupa

More articles on this subject - Are Your Blogging and Facebook Habits Sabotaging Your Efforts?

Are You Disillusioned About What You Thought Would Be Your "Dream Job"?

Boys and girls . . . SERIOUSLY . . . I know raising prices is scary. I know it makes you sweat. I know you think you're already too high because your so-called "good clients" are telling you so.

THEY'RE WRONG.

Let's look at this in a different way.

What if I offered you a job where you were free to create to your heart's content?

What if I told you that in addition, you'd have final say over all of the product lines? How about the purchasing decisions? You're free to buy the gear you need to do the job. And the hours . . you can set your own!

Sounds pretty sweet, right?

Now what if I told you you'd also be the receptionist, so you'd have to answer the phones, set appointments and deal with the public?

How about the customer service? You also get to work with people who aren't going to be happy. Some are just going to be offensive and mean.

Oh, by the way . . . you're the bookkeeper as well. You get to make sure that all of the monthly bills are paid and that the checkbook gets balanced. And you're responsible for keeping the receipts and such in an orderly fashion.

And production. You're responsible for unpacking the product, assembling the final product and making sure it's perfect and correct.

Shipping department? Yup, you get that job as well.

Don't forget to vacuum and empty the wastebaskets; you're the janitor too. (And the toilet . . . keep it clean!)

Now . . . what if I told you for all of this, you'd be paid the whopping sum of . . . are you ready?

LESS THAN MINIMUM WAGE.

You'd tell me I was crazy. You'd tell me to go jump. Some of you may tell me to do something that isn't even humanly possible.

BUT . . . GUESS WHAT?

A whole bunch of you have already taken this job. Your pricing is so horrendously low, you're working for less than minimum wage.

That great job you thought would make you enough money so you could stay home with the kids or quit your full-time job that you hate isn't paying you a penny. Some of you may even be paying for the privilege of working as a photographer.

YOU NEED TO RAISE YOUR PRICES. Sit down and figure it out. After you pay taxes and take out your expenses (yes, all of them), are you really able to keep anything for yourself?

You wouldn't let a boss do this to you. Why are you ok with doing it to yourself?

- David Grupa

Get One Year of Photovision for Just $49

One of the most popular methods of learning what's new in photography is to see and hear what other professionals are doing in their own studios. Unfortunately, it's simply not possible to travel the country and drop in on someone. Facebook groups can be helpful, but you really never know if the individual giving the information is accurate or just blowing smoke.

 

This is where Photovision's DVDs come into play. Every 2 months you receive a new DVD in your mailbox. Pop it into the TV or your computer and watch well-known industry professionals share their methods and techniques. Pause it, play it back, watch your favorite segment over and over. If you prefer to stream it online, you can do that as well!

 

Photovision has been given the "Hot One" award by the Professional Photographers of America for the quality programming they produce.

 

I’ve been receiving PhotoVision for years and always looked forward to the arrival of the DVDs in the mail. Even though I consider myself to be “seasoned” I feel like I learn something from every issue! 

 

Now, you can save $150 by using the promo code PVFAN. Just click on the link below and get all 6 DVDs or streaming video for just $49.

 

http://www.photovisionvideo.com/?afid=1646

 

Have fun!

Where will YOU be in 5 years?

I was reading a Facebook post today in which the writer stated that people looking for low price should expect low quality product.

While we'd all like to believe that is true, less money charged does not necessarily translate to low quality. Sadly, there are some really decent shooters out there who:

- Have no confidence in their work and ability to charge appropriately
- Have no business knowledge and therefore no clue as how to charge appropriately
- Think that they're going to save the world from expensive photographers by practically giving their work away

All of them are thinking that they are running a successful photography business - either full-time or "on the side" - and with the exception of the one who's trying to save the world, truly believe that they're charging as much as they can for their work.

There are a few basic statements that can be made which apply to many people who are new in the business. No, I'm not talking about the ones who went to WalMart or Best Buy and came home with a Rebel kit and a copy of PS Elements. The photographers I am referring to are the ones who have been active for a couple of years, gotten some additional education via traveling seminars and have actually kept themselves somewhat busy. However, they refuse to set their pricing at "market value" because:

Many new photographers are way better than they think they are. 
Most new photographers are severely underpriced.
As a result, most new photographers are making far less than they probably could be making.


Is this you? If so, here are a few more startling facts:

15% of you won't be a professional photographer next year at this time.
38% of you won't be here in 3 years.
50% of you will be out of business within 5 years.

You pick. Which one do YOU want to be?

Here's a graphic from business blogger Barry Ritholtz which outlines the profile of a US Small Business. How closely do you fit?

 

You Can't Get by Solely on Designer Jeans and Expensive Shoes.

There's been a firestorm brewing on Twitter, Facebook and private blogs the past few days over something called "The System - A 10 Step Guide to Starting Your Photography Business". A number of heavy hitters have weighed in on this already and while I don't really want to start anything over this one, because David Jay isn't the only one preaching it . . . I do feel compelled to make a couple of comments (oh, c'mon, you knew I would!) ;-)

I have a difficult time getting on board with the "Stuart Smalley" logic of "Go ahead, you can do it." There is something to be said for experience (be it one wedding or one hundred) that cannot be replaced by "blind faith" or "passion". You have to be good at what you do, no matter how likeable you are as a person. Photographers at all levels still need training and experience; "spray and pray" is a HORRIBLE philosophy under which to send anyone out to do a job professionally.

Yes, even a blind squirrel still finds a nut now and then, but you're more apt to get more than a "lucky shot" if you know what to do, where to be positioned and how to set your camera (and I don't mean on AUTO-everything!)

I love baseball. Those of you who know me understand this . . . I have played, coached, broadcast it on radio and cable tv . . . BUT . . . no matter how much I want to be a professional baseball player, the fact remains that my skill set is nowhere near what is required to play in the Major Leagues. Just because I want to be a pro baseball player doesn't make it so; I'm now too old and too slow, and even if I did train all year long and get into "playing condition", I'm still not going to even get a look by a club. "Buy a ticket and watch from the stands."

Photography, however, is not determined by age, as Mr. Jay claims. Those of us he's calling "old guys" (I'm not old, but since I've been in this business longer than many of you have been alive, I'll put myself there) still look for new ideas, new ways of doing things and what's current in the industry. We attend seminars with new, young speakers and make those changes in our business to remain competitive. Unlike a pro ball player, I don't have to "hang it up" just because someone younger and faster has come along.

While I understand that there are people who just want a DVD of images, the bulk of the consumers out there still want quality photography to hang on their walls and display in their home. This business has always been about service, but not in the "shoot and burn" way he preaches. There is a great deal of service in satisfying the needs of my client by providing a top-quality product.

He's giving people a taste of the product to entice them to purchase. Why does the grocery store or Sam's Club set up little demo booths all around the space? If they give you a sample of what you can buy and convince you that you want more, you'll pay them for the entire product. David Jay details this in his "shoot for free" philosophy (although he calls it "sharing"). It's showing them they want what you have.

He's doing the same thing in this entire ad piece which he has very cleverly disguised as a helpful article. It it a bad thing? Not at all. It's his marketing. He can market however he chooses.

Caveat emptor.

Showing Your Work - Just How Much is Too Much?

A question that comes up in conversation (especially among newer photographers) is "should I show my client before and after examples of their images so they can see just what I've done?"

While having examples of finished images in your marketing materials is acceptable to let the client know you will remove skin blemishes, soften lines and brighten teeth, I make it a personal habit to not show the SOOC (straight out of camera) image alongside the finshed product. Even thought the differences can be striking, I don't want the client to also see areas I've chosen to liquefy, or just how deep their wrinkles or eye bags appear without digital assistance. I just want them to love the finished product because they look beautiful. They will understand that I am a talented photographer whether or not I choose to share just how the image got to the final point.

One definite thing not to do is work the image in front of the client. I have spoken to so many photographers who have said something like "oh, just give me a minute and I can have that ready" or worse yet, actually done the Photoshop work while the client waits and watches.

Here's the reason for keeping the production aspect "behind the scenes". It completely takes the magic out of it and undermines your ability to charge for what we do. I can retouch a file in 3-4 minutes because I've gotten proficient in it after years of practice, not to mention the in-camera skills that made the file easier to finish in the first place.

There's a story about a woman who was walking through a park and she came across a man doing a painting. As she drew closer, she realized that the man was Pablo Picasso . . . and she became very excited. She walked up to him and said "Mr. Picasso, I have admired your work for so long . . . and I would love to have you paint my portrait. I will pay anything for that . . please?!?"

The man sighed, took the canvas he was working on off of his easel, replaced it with a fresh canvas and began to paint. About 20 minutes later he turned the canvas around to show her. The woman was elated! "Oh Mr. Picasso, it's beautiful! I can't believe how wonderful it is . . . and to be able to own such a personal piece of your art . . . how much do I owe you?"

Picasso calmly stated "Twenty-five thousand dollars."

The woman's tone abruptly changed. "Twenty-five thousand dollars?!?!? Why, it didn't even take you 20 minutes!"

Picasso, who had already replaced the canvas with his previous project, paused and said "On the contrary, my dear woman. It has taken me a lifetime."

Think about it . . . we didn't snap our fingers and get good. We were not overnight sensations. We've spent a long time learning, creating, perfecting. Don't devalue your work by making what we do seem "easy". Just because we've gotten good at a particular aspect of this business is no reason to make it appear that anyone with a DLSR, a computer and a mouse can be a Photoshop wiz.

And since we deserve to be well-paid for the amount of time, effort and money we've put into educating ourselves . . . please, don't give your work away.

- David Grupa

When Was YOUR Last Time?

As if I don't already have enough on my plate, I was flipping though Facebook friends today and looking at their profile images and it got me thinking . . . 


We invest a lot of effort and energy (not to mention $$) into convincing our clients why they should use a professional photographer, but what about us?


How recent is your last family portrait? Do you actually have a large print displayed in your own home, or is that just something we show off on our studio walls to help convince clients it's something they* need?


Better yet, when was the last time you updated your own professional headshot? What's the image displayed on your Facebook profile? Are your clients viewing a quality photograph of yourself, or are they seeing something that doesn't accurately reflect your professional reputation?


Everyone knows another photographer that you can pick up the phone and call. Maybe it's time you plan a "play date" with that person and update each other's images. It not only improves your appearance, but puts you in the client's position and gives you an opportunity to see how someone else works!

Ahh, The Art of the Camera Tilt.

There has been an evolution of sorts in the media and photography realm in the last decade or so. One change you’ll notice is tight cropping, which a lot of photographers have incorporated as well as the TV media. When done properly, it pulls the viewer's attention into the subject’s eyes. In the photography world, we have also found that tipping our cameras can lend an artistic flair to an otherwise simple composition. However, there are some simple rules to live by when using this advanced maneuver. Let’s go over some tips for tipping.

Let's start with a simple before and after of a senior guy. As you can see, tilting the composition and reframing the subject adds a lot more interest. Notice that the senior is in the exact same pose, but the photographer is capturing from a higher angle and has tightened up the shot to exclude shoes and legs.

The biggest rule to follow to make this work is having a vertical line somewhere in the image to anchor the subject. Notice where the true horizon of the images really are.

The above rule can be broken in some instances and still lead to a visually strong image such as in this example here.

While this image breaks the rule about tilting, it also follows a number of rules of composition. The subject's face is in the top right power point of the composition which follows the Rule of Thirds. There are also strong diagonal leading lines from her body and the lines of the flooring which pull you into her face.

When done properly, the camera tilt ends up being very subtle and directs your attention to the subject, not the tilt of the camera.

That's all for now!

- Kirsten Holscher

Use a Handheld Light Meter to Nail Exposure Every Time!

It's been talked about here in detail; when you're photographing your clients, you should be utilizing the proper tools to make sure you achieve the proper exposure and color (white balance) for every image you create. Today, I'll show you exactly how easy it is to use a handheld light meter and white balance target and why you should be using them with every session you photograph.

Let's begin with one basic premise; your camera - no matter what brand - is simply a computer with a lens. When we feed it proper information, we receive the results we want. Sure, there are some "AUTO" settings that allow you to concentrate on composition, but because your camera set on AUTO-anything is now "averaging" the results, you may find that you spend quite a bit more time in post-production tweaking files for exposure and color. This will help you get some of that time back!

Why do I not just use the AUTO setting? As stated above, the AUTO settings tend to provide averages in both areas of exposure and white balance. Any of these AUTO settings can be affected by color of clothing, backgrounds, or just the available light source; all of these will influence how your camera's internal system reacts.

Every time I change lighting or location in a session, I pull out the meter and the target. (I wear my meter on my belt and the target around my neck, so it's not like I'm digging through gear to find these items.) It takes just seconds to check exposure and adjust the settings on my camera for a perfect exposure. The same is true with the white balance target (which can also be used to check exposure via the histogram on the camera's display); for info on how to use the white balance target for color calibration later, CLICK HERE.)

The images below are SOOC (straight out of camera) and show the difference taking a few extra seconds on the front end makes.

Many people first beginning in photography feel as if lighting, posing and composition are the #1 things they need to master. In order to take your photography to the next level, you need to learn to properly expose your photographs so that they don't require extra tweaking in Photoshop. Every minute you save by NOT having to "Fix it in Photoshop" is a minute of your own life that you get back.

Grab that light meter and save yourself time and headaches later on!

- David Grupa

To Meter or Not to Meter . . .

Oh, how I love Facebook groups. They have become a great place to share, network and socialize with other people who have similar interests. They can certainly be a source of entertainment. On occasion, they also become the source of material for debates.

Don't get me wrong, I love a good back-and-forth as much as anyone. I don't enjoy, however, when these take place in an environment where someone is soliciting advice and the people giving said advice are leading in the wrong direction.

A recent example is a discussion surrounding the use of a light meter; a number of folks felt that it is a necessary piece of equipment, while others deemed it outdated and not relevant. One commenter even went as far as suggesting that "there are loads of awesome photographers . . . that don't use a light meter." Really? I suppose if you want to get out your calculators and determine your exposure based on a guide number and distance, that's up to you. If you're one of those who just "guess and go", so be it. To me, however, the light meter is an essential tool in my everyday work; one that I'd feel very uncomfortable without. I'm also guessing that even though many of the other "awesome photographers" know their setup and equipment well enough and could probably get by without one, most of them still use a meter to determine their initial exposures and settings.

Am I just old-fashioned? Maybe it's the fact that I date back to the Collodion Wet Plate Process (okay, back to film days, anyway) and I constantly had a Gossen Luna Pro around my neck for ambient light and another flash meter in the studio. I just never photographed without checking exposure.

I realize that today's cameras have a lot of this "built-in", but until I find a system that's 100% infallible, I'm gonna keep my trusty Sekonic L-358 strapped to my hip. It takes seconds for me to pull it out, check exposure and photograph a target for WB purposes, allowing me to concentrate on my subject rather than hope I'm not in a position where the in-camera metering gets fooled. (But that never happens, does it?)

Besides, I honestly believe it gives me a more professional appearance than someone who's just happy-snapping with their DSLR. (Don't believe me? A few weeks ago I had a client who was coming to me after an unsuccessful visit with a "faux-tographer" who gave them disappointing results from a senior portrait session. The mom and girl both commented that "the other photographer never used one of these." I explained that it's just a part of the set of tools I need to do the job well and create awesome images. During the viewing as they were oooohing and ahhhhing over the finished images, mom asked "Why don't all photographers own the right equipment to do the job?"

A necessary tool? I think so.

- David Grupa 

(Check out www.Sekonic.com for some great tutorial videos on creating better portraits and why a light meter is crucial to the process!)

Q & A: More Simple Marketing Tips For Emerging Professionals

From time to time, readers send in questions or ask for help. In the coming weeks, I'll try to answer a few of them here.

- Do you have any other marketing suggestions to give to those who are in their first year (or so) in the photography business?

RAISE YOUR PRICES! Seriously . . . there is nothing more difficult than starting at a low price point and experiencing difficulty raising prices at a later date because clients balk. Start them out expecting to pay for what you are worth.

UNDERPROMISE AND OVER-DELIVER - There is nothing worse than getting a client's expectations up and then disappointing them with low-quality or late delivery. Just because your lab turns things around in 3 days is not a good reason to tell them that their images will be ready in a week. Take into account the fact that you have to prepare the images along with all of the other things that go into running your daily business. It's much better to tell them to expect 3-4 week turnaround and actually deliver in 2 weeks . . . that makes you a hero rather than a goat.

WORD OF MOUTH CAN MAKE OR BREAK YOU - The biggest problem is, you never hear the bad things until it's too late. Set your expectations up-front and then stick to your deadlines. After delivery, make sure to thank your clients with a card and give them an opportunity to refer their friends.

- David Grupa 

Do you have a question you like a member of the Camp David team to answer? Send your questions to info@CampDavidPhoto.com !

Beat the Competition By Outperforming, NOT Underpricing - Part 2

In the first part of this article, I talked about how so many of us got into the industry because of our love of photography and the desire we had to create beautiful images with our cameras. It was so completely enjoyable, we may have even thought we'd do it for free! (Sadly, by under-pricing, many photographers do work for little or nothing.)

While desire, energy and passion are great, those qualities alone will not be enough to make you a successful photographer or run a profitable business. You must set yourself apart from the competition. Many photographers realize this, but few actually understand what it means.

In this segment, let's discuss how to put some distance between you and the other photographers who are competing for the same dollar. Since we know don't want to slash prices (and profits) to achieve this, we have to find better methods. Not surprisingly, almost all of them are centered around education.

Last time I talked about some of the biggest mistakes I made, so this time (just to prove that I wasn't a total idiot) I'll share some of my best decisions.

1. Become an active member of professional associations.
   This is easily the single smartest and best thing I ever did; my only regret is that I didn't do it sooner in my professional career.
   
   - Why it was a great move: Membership in professional associations - specifically PPA and my state and local affiliate groups - provided me with the resources I needed to position myself as a professional studio. Especially now, in a market where every digital SLR owner prints 250 free business cards online and brands him / herself as a "professional", membership in PPA and affiliate groups add an extra level of credibility and accountability to you as a professional.
   
   
2. Take full advantage of the opportunities offered by these associations.
   When I said to become an "active" member, I mean get involved. It does you minimal good to pay the dues and not take advantage of the benefits, educational and networking opportunities that these memberships offer.
   
   - Why you should "go for it all": This is where I really started to blossom. When I began attending meetings and seminars, not only did I learn from the presenters, but it seemed I learned equally as much from my own colleagues who were in the very same room. Here were the very people I was thinking were my "competition" sharing their own tricks and secrets with me, the new guy! I couldn't figure it out. After accepting an invitation to visit a nearby (within 2 miles of my studio!) colleague, I asked why they were sharing all of this information with me. His both response surprised me and stuck with me to this very day. "If I help you learn the proper way to run a successful business, we're not really competing with each other. We're just raising the bar for photographers everywhere and showing the public what they can expect from a professional studio." No matter which group I got involved with, my experiences were similar.
   
   
3. Challenge yourself by entering print competition.
   I know, you're thinking "I don't need to enter print competition. Why do I care what another photographer thinks? My work is just fine!"  The truth is, if I had a dollar for every time I've heard this, I'd be wealthy. (And that's just from my former business partner!)
   
   - Why you should enter: The truth is, participating in print competition IS scary, but it will ultimately make you a better photographer. Seeing the work of other photographers and hearing the critiques of experienced professionals will give you ideas and background on what makes a great portrait. Seeing the actual image and listening to the reviewers' commentary often drives home the need to step outside of your own comfort zone. Print competition has challenged me to stretch my personal limits and has made me a better photographer.
   
   
4. Roll up your sleeves and get involved.
   A number of years ago, a photographer friend was telling me about a new member in their group who had come to him with the complaint about the group being "cliquey". The member went on to tell him "I really don't know what to do . . . it's almost as if there's a secret password to get to know people." My friend smiled and replied "Well, there is sort of a secret phase. To meet new people, walk up to anyone who's busy and say "How can I help?"
   
   - Why you want to do this: Did you ever notice how some people walk? They avert their eyes downward or only look straight ahead as they walk. While they end up getting to their destination, they often miss all of the wonderful experiences around them along the way. The same is true for your involvement with any group. Roll up your sleeves and help take down equipment after a seminar. Don't worry about making a long-term commitment or being elected president. Simply hang around after the meeting to help put away chairs, roll up cords, whatever is necessary. I guarantee people will learn your name and you will instantly become better acquainted with a greater number of people.
   
   If the group goes out afterwards, join them! Grab a bite to eat, or have a soda or a drink and join the conversation. Some of the best learning experiences happen outside of the actual classroom and who knows . . . you may even make a new friend or two. Some of my closest friends are people I've met through professional photographic associations.
   
   
5. Step outside of your comfort zone by pushing yourself to achieve new heights.
   Become a Certified Professional Photographer. Work toward a PPA degree. Set a goal of creating one new image per session by not following the same "mental checklist" you always use.
   
   If you're feeling really adventurous, single out one area where you feel really proficient and participate in a discussion or <gasp> give a program on that subject.
   
   - Why?: Why not? it's all about learning, growing, paying it forward and setting yourself apart from the crowd.

David Grupa, CPP, M.Photog.Cr., AFS-MNPPA owns David Grupa Portrait in Maplewood, MN. A true believer in the power of professional associations, he is a Past-President of both the TCPPA and MNPPA and serves PPA members in Minnesota as a Councilor. In his desire to "pay it forward" in the photographic industry, he founded Camp David Photographic Education. www.CampDavidPhoto.com

Q & A: Simple Marketing Tips For Emerging Professionals

From time to time, readers send in questions or ask for help. In the coming weeks, I'll try to answer a few of them here.

- What is the best low-cost marketing idea a beginning photographer could implement?

Partner with people you do business with to take advantage of their client base as well as your own. How cool is it for them to be able to offer a free portrait session as a thank-you gift to their clients? It puts your name in front of an entirely new group of people for a minimal cost on your part. Get involved with business groups and get your name in front of other business professionals.

Discount your sessions, not your print prices. I made up business cards that I gave to just about everyone that offered them a no-charge basic studio session. I still ask my clients for referrals and offer them a referral credit for each person they send to my studio.

Rather than discounting print prices, offer rewards or incentives for reaching a certain order level or placing the order within a specified time-frame. Cutting your print prices only encourages clients to ask for print discounts in the future and ultimately, brings you more people who are looking for a "deal" or "cheap photography".

- David Grupa

Do you have a question you like a member of the Camp David team to answer? Send your questions to info@CampDavidPhoto.com !

Beat the Competition By Outperforming, NOT Underpricing - Part 1

Photography is a funny industry. If you talk to someone who's been around, they may sound a bit bitter regarding the state of the profession, saying something like "digital is the worst thing that ever happened to photography. Nowadays, everyone thinks they are a photographer just because the can see an image on the back of their camera and hand over a disk of files for a few dollars. And they call themselves professional."

On the other hand, you may also run into someone who looks at life with more positive view. "Digital is the best thing to ever happen to photography! I can finally create the image I had envisioned because of the incredible tools we now have at our disposal. Better yet, I can charge more for my product because it's something that nobody else can duplicate!"

Of course, there is also the group of new photographers who are excited to create, eager to learn, thrilled to have the opportunity to make a living doing something they love . . . and desperately need someone with experience and knowledge to point them in the right direction.

When I think about it, I'm really not that different than any of today's new photographers. You see, when I began in this business back in 1976 I was a 17 year old kid with a new camera, a fistful of business cards and a dream to make my hobby my profession. I had the desire, I had raw talent (which needed serious refinement) and I had the energy and blind courage to succeed as an entrepreneur.

However, I just needed something more to get me over the hump.

While desire, energy and passion are great, those qualities alone will not be enough to make you a successful photographer or run a profitable business. You must set yourself apart from the competition. Many photographers realize this, but few actually understand what it means.

When I began photographing "professionally" (ie: when I began charging for my photos) I was working with a friend I'd met in high school. We became business partners and put ourselves through college shooting weddings. Things were going well (so we thought) and we soon rented retail space for a studio location. It was at this point that some of the worst decisions ever were made. Rather than explain them in every sordid detail, I'm going to make a list of the biggest errors (and tell you why they didn't work.)

1.      "People will choose us because our pricing will be less expensive than other studios."
In theory, this sounds great. Everyone likes to save a dollar and as is the case today, we were also in the throes of a recession at that time.

- Why it didn't work: Because we were new and inexperienced, price was not the deciding issue for many clients. While some clients were fine with "good enough", many opted to use competing studios who charged more because of the quality of their final product. Average photography at any price is still just average photography. Since we were operating on a low price-point, there wasn't enough profit to use top-shelf materials and still make money, nor was there enough funds to attain the education we desperately needed in order to do it right.

2.      "If we charge less, we can book more clients and make up the difference in volume."
This is great for stores such as Target or Wal-Mart, where they can lure you in with a low price on one item, knowing that while you're there you will most likely "stock up" on other items you regularly purchase. Clothing, food and other products all carry a significant markup that allows a retailer to sell certain specific items as a "loss leader".

- Why it didn't work: The strategy was wrong in many ways. Yes, more weddings and portrait sessions were booked because of lower prices. They turned out, however, to be clients who came in only for the low-priced items. Additional sales on these were virtually non-existent because the low price on the initial investment was what caused them to book in the first place. There was no love of our work or photography in general. Coupon-clippers (Groupon users) are not going to spend extra money and add-on sales are what was needed to make this strategy work.

3.      "Since I'm just starting out, I can't charge as much as everyone else."
This is perhaps one of the biggest mistakes made in the industry today. When you begin, the bulk of your client base comes from friends and family, all of whom expect "a deal". Others will feel that because you are a new photographer, they can pay less because you "need the business."

- Why it didn't work: By pricing yourself low from the beginning, you are essentially training your clients to believe that you will always be cheap. Rather than start with unrealistically low pricing, set your numbers where you want them (higher!) While you are "building your portfolio" you can then offer a discount from your "regular" prices, but only during the time you need that specific type of subject for sample images! For instance, during the month of October you'd like to increase volume for outdoor family portraits. Run a special offering a reduced rate on family sessions. Want more kids? Do an Easter or Spring portrait session special.

The bottom line is this: once you've photographed enough sessions of that particular subject at the discounted rate an d have the sample images you need, end the sale and go back to your regular (higher) pricing!

4.      "I can't raise my prices. All of my clients will complain or leave!"
Once you get established and realize that you actually want to start keeping more of the money, you will find that you have two choices; raise your prices or photograph more sessions. Since there are only 24 hours in a day, increasing the amount of work you take in can only be done to a certain level. You can't add hours to the day.

- Why you just need to bite the bullet and do it: Ultimately you will be forced to raise prices, either due to increased product costs and fixed expenses, the need to purchase new and updated equipment, the desire to take home more money and a long list of other necessities.

There's an old saying that goes something like "If your clients aren't complaining about your prices, you're probably too cheap." The fact is, people often determine value based on a price. If you're too low in your prices, there may be an entire group of people who never give you a second look. Many people equate "low price" with "poor quality". My former partner would say things such as "I'd never pay that much for photographs." If he didn't think his work was worth it, how would he ever be successful at the sales table?

The truth is, when we increased pricing we lost some of the low-end clients. What also happened is that we gained clients in an entirely new group. To these folks, we were now "affordable" in a higher price-point category.

Be fearless and move forward. Continue to make this industry an awesome place to make a living!

David Grupa, CPP, M.Photog.Cr., AFS-MNPPA owns David Grupa Portrait in Maplewood, MN. A true believer in the power of professional associations, he is a Past-President of both the TCPPA and MNPPA and serves PPA members in Minnesota as a Councilor. In his desire to "pay it forward" in the photographic industry, he founded Camp David Photographic Education. www.CampDavidPhoto.com