There is a trend going across the popular video social media platform TikTok that shows photographers, calling themselves “street photographers” wandering the streets and asking people on the streets for a picture, resulting in taking their portraits on the street.

This is NOT street photography, I’m sure Henri Cartier-Bresson is turning in his grave when he hears these trendy photographers calling themselves street photographers when indeed they are portrait photographers taking images on the street.

It might sound the same, but I can assure you it really isn’t and someone needs to tell them the basis of the trend is flawed!

@iamjeanblack
♬ original sound – Jean Black

While TikTok user iamjeanblack seems like a friendly fellow and was very polite and did take some nice images of the man he stopped, this is not pure street photography capturing candid moments on the street of unexpecting people. 

This is all intent and purpose, it’s a photo shoot or a portrait session in a park… NOT street photography. But it doesn’t stop there, hundred of TikTok users are now calling themselves Street Photographers and using the basis of this trend to take photos out in public.

While I love the idea of more people picking up a camera and getting into photography, I’d like them to understand street photography first and then decide that while it’s not street photography, they are taking great portraits and are therefore portrait photographers.

@ryukstyles
♬ lovely – lovely

Again, amazing photos from ryukstyles, and having the portable printer with him is a nice touch…. But it’s not street photography, where are the dramatic scenes, candid moments within a slit-second of life – this just isn’t street photography.

While I sound like a boring old fart going on about how this isn’t that and why are they calling it this, in anything, there is a process, a process of learning, striving to be the best in your field and this trend just feels like a gimmick, a gimmick and a punch in the gut to the great street photographer that have been and gone, and to the great that have worked their craft for years.

I am sure this trend will continue, because who wouldn’t follow the crowd to get views, but I just think it is very weird and really does not sit well with me that people and photographers think this is street photography – for the fiftieth time – It’s NOT street photography.

The highly anticipated final phase of the V&A Photography Centre is now open, and no matter what area of photography holds your interest, this news is worthy of your attention.

The V&A was the first museum to collect photographs, beginning in the 1850s, when it was known as the South Kensington Museum. Today, the collection is comprised of over a million objects related to the history of photography, including photographs, negatives, cameras, technical equipment, books, periodicals, and archival material. The origins of the photography collection in the V&A are intertwined with the development of the Museum itself. The first museum director, Henry Cole, was an amateur photographer, and a keen supporter of the art of photography in a time where the medium was considered as more of a science than an art.

The first phase of the dedicated Photography Centre opened in 2018, which doubled the space dedicated to photography at the V&A South Kensington. The opening of the second and final phase in 2023 means that there is now 1,000 square meters of dedicated space for photography within the V&A. Across seven galleries, the center showcases objects from the beginnings of photography alongside cutting-edge new commissions. 

The collection can be visited both online and in person, including the Royal Photographic Society archive, which was transferred to the V&A in 2017.

The University of Illinois at Chicago in its original form was a bold and mysterious place when it opened in the mid-1960s on the city’s West Side.

The idiosyncratic campus of modernist buildings linked by elevated concrete walkways, with a huge outdoor amphitheater called the Circle Forum at its center, was disliked by more than a few.

Then-Sun-Times architecture critic M.W. Newman famously dubbed the campus “Fortress Illini.”

But photographer Orlando Cabanban, hired by architect Walter Netsch of SOM to document the new university, saw things differently.

Cabanban’s photography depicted a bustling campus of unique buildings — a counterpoint to the criticism UIC had received.

“I liked the design,” Cabanban, now 89, says with a smile.

A licensed architect who switched to photography early in his career during the 1960s, the Chicago-born Cabanban was hired by top architecture firms to document their work.

And while he didn’t become as well-known as architectural image-makers such as Hedrich-Blessing, or Ezra Stoller, his UIC work alone shows he could give them a run for their money.

If you find midcentury images of signature buildings such as Marina City or Seventeenth Church of Christ, Scientist at 55 E. Wacker Dr., it’s likely Cabanban was behind the lens.

In 1995, as part of the Art Institute’s Chicago Architects Oral History Project, interviewer Betty Blum asked Netsch who was his preferred photographer.

“Well, I had three,” Netsch said. “The photographer Balthazar Korab from Detroit … And our local photographer Hedrich-Blessing. The other one was Orlando Cabanban.”

Architecture and more

Cabanban photographed the Raymond Hilliard Homes, 30 W. Cermak Rd., for architect Bertrand Goldberg in 1966.

The photographer captured Hilliard’s curves, shooting parts of the cylindrical development through its lozenge-shaped windows.

But the standout of the Hilliard bunch is a low-angle shot of a young boy on his bicycle, peering down into Cabanban’s camera while a 15-story Hilliard senior citizens building looms behind him.

“I saw him riding around and just asked him to pose,” Cabanban remembered. “I was there photographing the construction of the buildings.”

Architecture photographers of the time frequently didn’t include people in their images — the design is the thing — but Cabanban was among the exceptions.

As Netsch told Blum: “Orlando would always photograph with people, and I like that.”

Placing individuals within his architectural photography also illuminates a lesser-known part of Cabanban’s career: He documented people as a street photographer, and on assignments for the Field Museum and the Community Renewal Society.

Cabanban also traveled to the Philippines to photograph family members and the town in which his father was born.

He also photographed a 1966 Loop demonstration led by the Rev. Martin Luther King Jr.

“I think I favor the people photographs,” Cabanban said. “That was my first love.”

For the Field, Cabanban photographed Mexican Americans living in the south suburbs during the 1960s. The photographs show weddings, gatherings in the park — even some cattle-wrangling event.

The museum also assigned Cabanban to document Native Americans in Chicago and in the Southwest.

“I went to the powwows, and I danced. I learned to dance just, you know, just going around in a circle, pounding my feet,” Cabanban laughed.

Perhaps a photographic story to tell

UIC looks more traditional today. There are some new buildings, and the walkways and Circle Forum were removed in the 1990s.

Cabanban’s masterful images of UIC — seen around the world at the time — remain the best and most thorough photographic record of the original out-of-this-world campus.

Meanwhile, Cabanban has put down the Nikons, Hasselblads and Sinars and retired from photography.

“No, I don’t shoot anymore,” he said. “I photograph my grandchildren though, once in a while when I get a good camera in my hands.”

Cabanban wonders if a book of his work might be in order. In addition to SOM, Goldberg and Weese, Cabanban’s client list reads like an architectural who’s who of the era, including the likes of Perkins & Will and Mies van der Rohe.

Here’s hoping it happens. Packaged the right way along with Cabanban’s street and ethnographic photography, it could all make for a compelling new look at the people and places of 20th century Chicago.

Lee Bey is the Chicago Sun-Times architecture critic and a member of the Editorial Board.

Send letters to letters@suntimes.com

Capturing images with accurate colors and tones is essential for creating stunning and visually appealing photographs. One crucial element that helps achieve this is white balance. In this article, we will explore the concept of white balance, its importance, and how it can elevate your photography skills.

What is white balance?

White balance refers to the process of adjusting the colors in a photograph to ensure that whites appear truly white, regardless of the lighting conditions. Different light sources emit varying color temperatures, which can distort the colors in your images. The human eye adapts to these color shifts effortlessly, but cameras need assistance to reproduce colors accurately. Different times of the day or even seasons, as well as natural light compared to artificial light can produce different qualities and colors of light.

Color temperature and the Kelvin Scale

The color temperature of light is measured in Kelvin (K). Higher Kelvin values indicate cooler tones (such as blue), while lower values represent warmer tones (such as orange or red). For instance, daylight has a higher color temperature, around 5500K-6500K, resulting in cooler tones, while incandescent light produces a lower color temperature, around 2500K-3200K, resulting in warmer tones.

White balance presets

To help photographers achieve accurate colors in different lighting conditions, cameras provide several white balance presets, such as Auto, Daylight, Shade, Cloudy, Tungsten, Fluorescent and Flash. These presets adjust the camera’s settings to compensate for the color temperature of the light source. For example, selecting the “Tungsten” preset when shooting indoors under tungsten lighting will counterbalance the warm orange cast and restore more natural-looking colors.

Custom white balance

In situations where the available presets may not accurately represent the lighting conditions, photographers can create a custom white balance. This involves capturing a reference image of a white or neutral gray object under the same lighting conditions as the scene. The camera uses this reference image to determine the exact color temperature of the light source and make the necessary adjustments to achieve accurate colors.

Post-processing and white balance

White balance adjustments can also be made during post-processing using photo editing software. Most editing applications provide tools to fine-tune the white balance, such as sliders or droppers. This flexibility allows photographers to correct any color casts or enhance the mood of an image by deliberately adjusting the white balance. This is especially the case if you are capturing your images as raw files.

So, what white balance should you use?

You can change your white balance in the camera to suit the environment you are photographing. You could also leave it on Auto white balance (WB)and adjust it in post-processing. Choose a preferred Kelvin and stick with that (I am quite partial to 5600K). If you are new to photography and find the exposure triangle enough to deal, with I suggest leaving the WB on Auto until you get more familiar with all your settings.

A final word

Understanding and utilizing white balance is vital for photographers seeking to capture images with accurate and appealing colors. Whether through camera presets or custom adjustments in post-processing, mastering white balance empowers photographers to unleash their creative potential and bring their images to life. So, grab your camera and explore the world of white balance to enhance your photography skills!

Want to find out more about white balance?

A list of movies or songs (or anything pertaining to art) is bound to be missing some notable entries. By no means is this a list of the best 15 songs about photography. And it doesn’t cover all genres of music either. But it is a list of songs that, while not necessarily focusing on photography as the core theme, still manage to touch the sentiments of photographers everywhere.

Album art for this article is being used under fair use.

“Photograph” by Ringo Starrr

I can think of at least three other songs by reputed musicians that have the same title. There’s the one by Ed Sheeran with the autobiographical music video to go along with it. Gen Xers will undoubtedly remember the classic 1983 tune by the active rock legends Def Leppard. And who can forget the titular tune by the band that everyone loves to hate – Nickelback. But the one that resonates most with me is by Sir Richard Starkey, more commonly known by his moniker Ringo Starr. This was co-written with fellow bandmate from The Beatles, George Harrison, and is the lead single from his 1973 album Ringo.

How many of you know that Ringo Starr was a proficient photographer himself. He’s even published books about his photography. One of them is literally titled” Photograph.”

“Paparazzi” by Lady Gaga

For me, any mention of the word paparazzi takes me back to the morning of September 1, 1997, when I woke up to the news of the tragic death of Princess Diana. It’s been over two decades since then, but this word has remained a trigger of sorts to the sadness of that day and the weeks that followed.

A little over two decades after that tragedy, the world awoke to a new musical talent named Stefani Joanne Angelina Germanotta, better known to the world as Lady Gaga. Hot on the heels of the rocking success of the first two songs from her album ‘The Fame,’ she released another couple of popular numbers, the second of which was Paparazzi. Gaga expresses a love-hate dynamic with the paparazzi, acknowledging their role in boosting her fame while also critiquing their invasive tactics. The song sheds light on the darker side of fame and the consequences of living in the public eye.

“Pictures of You” by The Cure

Pictures Of You was released as a single from The Cure’s 1989 album Disintegration. Known for its atmospheric sound, heartfelt lyrics, and emotional impact, the song explores themes of loss and reminiscence. As with most music videos, I wish I could make more sense of what the visuals were trying to imply. Still, the guitar work, ethereal synthesizers, and slow tempo create a dreamlike and wistful atmosphere for your listening pleasure.

Several sources have been attributed as the inspiration behind this song. The most notable one is by Robert Smith himself, who once destroyed many old personal photos as a way to erase part of his past. An act that he regretted later.

Here’s an interesting bit of trivia. The band’s second world tour, which began in 1981, was titled “The Picture Tour.”

“I’ll Wait” by Van Halen

With a more pop-rock style than their earlier songs, the American rock band Van Halen released I’ll Wait as part of their sixth studio album, 1984. It was written in collaboration with former Doobie Brother Michael McDonald. The song features Eddie Van Halen’s virtuosic guitar playing, combining guitar solos and melodic riffs. It reached no 13 on the Billboard Top 100 back then. No music video was filmed for it at the time. The song showcases the band’s ability to evolve their sound while maintaining their distinctive musical identity.

“Kodachrome” by Paul Simon

To the best of my knowledge, Kodak had nothing to do with this song in terms of sponsoring or greenlighting the lyrics. Even though the lyrics sing the praises of this popular 35mm stock. Written by one half of the legendary band Simon & Garfunkel, this catchy song touches on the limitations and fleeting nature of memories. Analog or digital, I’d recommend you all print more of your photographs anyway. The BBC refused to air this song in the UK, though, as they didn’t want it to seem like they were indirectly endorsing Kodak’s product. Can’t help but agree with Paul Simon about the winning combination of a Nikon SLR and a roll of Kodachrome.

Kodachrome
They give us those nice bright colors
Give us the greens of summers
Makes you think all the world’s a sunny day, oh yeah
I got a Nikon camera
I love to take a photograph
So mama, don’t take my Kodachrome away

Paul Simon

“Click Click Click” by New Kids On The Block

One of the original boy bands that made an impact in the 80s and 90s, NKOTB, was quite prominent during my childhood. This track by them after their reunion in 2008. Incorporating elements of R&B, the song still retains the group’s signature pop melody. Although the “click, click, click” in the lyrics also symbolizes the shutter sounds made by cameras, it could refer to the instantaneous connection between the song’s protagonist and his muse. It’s one of those songs that you either love or hate.

“Hey Ya!” by Outkast

This song introduced many to the catchphrase “Shake it like a Polaroid picture.” The phrase is an apparent reference to the vigorous flapping of the Polaroid print that many of us do instantly after it’s ejected from the camera. It won them a Best Urban/Alternative Performance Grammy at the 46th Grammy Awards. Interestingly, Polaroid recommends that you don’t shake the photos this way. Whether you choose to shake your Polaroids or not, give the song a listen. It’s a catchy number.

“Polaroid Picture” by Frank Turner

Still on the theme of Polaroids, this is one of those songs that makes you nostalgic about the good old days. It’s a relatively recent track (if you consider 2013 as being not so long ago), and it reflects on the passage of years and the way memories quickly fade with time. The singer almost implores the listener to take a Polaroid picture before it’s too late, in order to freeze memories forever. The song starts on a slow note before energetic beats catch up.

After listening to this track, I sat down and tried to recollect all those times when I could and should have taken a picture, but I didn’t. And as much as I wish I had, I let that moment become nothing more than a memory in my head. It’s a lot easier nowadays with the convenience of smartphone cameras. So take a moment, smile, and take that photograph. Your future self will thank you for it someday.

Take a Polaroid picture
(Let go of the little distractions)
Take a Polaroid picture
(Hold close to the ones that you love)
Take a Polaroid picture
(We all want you to see where time goes)
Please Take a Polaroid picture
(While you can take a picture of us)

Frank Turner

“Camera Phone” by The Game (featuring Ne-Yo)

The Game collaborated with R&B artist Ne-Yo in “Camera Phone” to produce a song blending rap and R&B with melodic vocal performances. The lyrics revolve around casually capturing fun moments at a party using camera phones. The Game confidently raps his verses while the ever-melodious Ne-Yo sings the catchy chorus in his signature smooth voice.

“Family Portrait” by P!nk

A deeply personal song for the artist, Family Portrait explores the crippling effects of separation and divorce on young children. P!nk wrote this thoughtful ballad at the age of 21, based on a poem that she penned when her parents divorced 12 years before that. The song describes how often family portraits showcase a happy scene when the reality of the situation might be far from pleasant. The emotional notes that she hits during the song clearly show how much of an impact the events of her childhood must have had on her while growing up.

“Girls On Film” by Duran Duran

Opening with the addictive shutter sounds of what appears to be a Nikon FM or FM2, this song looks to be about the glamorous world of fashion, even if the visuals in the music video aren’t quite the same theme. Featuring signature elements of Duran Duran’s sound, such as the catchy bassline and electronic sounds, the narrative centers around the sometimes exploitative nature of the fashion industry. They released it just a handful of weeks before MTV went live in 1981. Only the third single from the British band, the originally filmed controversial music video for this almost overshadowed the track’s success.

“Send A Picture Of Mother” by Johnny Cash

This track was part of the “At Folsom Prison” album, recorded live on location at the California state prison. It’s about a prisoner longing to see his mother and asks for a photograph to hold on to. Capturing feelings of homesickness, the track explores the strong yet often disconnected emotions that incarcerated prisoners feel toward their loved ones. Many prisoners around the country would often write in to Cash asking to perform for them. This inspired him to create this song and album. His deep voice crooning over his legendary guitar skills makes for an emotional piece.

“Camera” by R.E.M.

This isn’t one of the more peppy songs on our list. The track is more melancholic in terms of both the melody and the lyrics. R.E.M. wrote this song as a tribute to Carol Levy, the band’s photographer. Sadly she passed away in a car crash while on tour with the band to promote their first album Murmur.

“Electric Eye” by Judas Priest

One of the signature tunes of British heavy metal band Judas Priest, the 1982 song Electric Eye was prophetic. Exploring themes of surveillance and invasion of privacy, the track’s heavy drumming and rip-roaring vocals address concerns about the impact of technology on society. Sounds creepy? We’re living in this kind of world right now, whether we like it or not.

Always in focus
You can’t feel my stare
I zoom into you
But you don’t know I’m there

I take a pride in probing
All your secret moves
My tearless retina takes pictures that can prove

Judas Priest

“Photographs Can Lie” by Elvis Costello & The Imposters

They certainly can, and with the advent of image-generating AI tools, it’s becoming increasingly harder to tell what’s a photograph and what isn’t. A song from their 2018 album titled “Look Now,” the track looks at the deceptive nature of photographs and how they can mask genuine emotions and realities. Is every photograph a lie? I guess in some ways it is, depending on what is framed inside the photo and what’s left out. At least Elvis Costello and his band seem to think so.

What are some of your favorite songs about photography? Let us know in the comments which ones you’d recommend.

All the songs listed in this article can be heard on this playlist on Spotify. You could also listen to them on this Youtube playlist.

Earlier that day, film-maker Kaja Kraska had accompanied her new friend Muanauru to the market to buy a chicken. Now, it was sitting on Muanauru’s head.

It was summer 2020 and Kraska was with her husband, Mateus, in Mambo, a village in Tanzania’s Usambara mountains. They create documentaries across the world for their YouTube channel Globstory. After a first Covid lockdown that had confined them to Poland, they decided to visit Tanzania, in part because of its unusual response to the pandemic.

“The president of Tanzania at the time, John Magufuli, declared that prayer would cure the country of Covid. When he then died, there was speculation that the virus had killed him.”

They spent three months of their trip in Mambo, a village in the mountains, where they met Muanauru, who worked at the eco lodge where they were staying. “We wanted to cover the village healer; he is the first person some people go to before they go to a hospital.” Muanauru “is a kind, generous lady and speaks English, so she agreed to act as our fixer”. The healer asked if they could bring along a chicken to diagnose any ailments or issues in Muanauru’s body. Kraska was mostly focused on filming with her digital camera, but she took this shot on her iPhone 11, inside the healer’s home.

“First he applied a dark paste to parts of Muanauru’s body, then he put the chicken on her head and performed a ritual. Usually, he’d then slaughter the bird and check its innards to find out what was wrong, but we stopped before we got to that part. The chicken lived for another day, at least.”

The exhibition The Poetics of Politics—The Bucharest School of Photography, curated by the Belgian art critic/ curator Sam Steverlynck, is an exhibition diptych that takes place at Harlan Levey Projects in Brussels and Art Encounters Foundation in Timișoara (Romania) within the framework of Timișoara 2023—European Capital of Culture. 

Harlan Levey Projects: June 10–July 15, 2023.
Art Encounters Foundation: September 21–October 28, 2023.  

The exhibition gathers works of an emerging generation of Romanian photographers (Michele Bressan, b 1980; Dani Ghercā, b 1988; and Nicu Ilfoveanu, b 1975) who graduated from the Academy of Fine Arts in Bucharest, where most of them are still teaching. Having grown up in the aftermath of the Revolution of 1989 and firsthand experienced the sudden transition from communism to capitalism and its long-lasting effects on a social, political, economic, and urbanistic level, what unites their practice is a cautious approach towards the use of imagery for various narratives and a meta-reflexive way of dealing with the medium photography. Adhering to a conceptual approach instead of a documentary one, they reflect on a period of economic, social, and technological transition, examining the notion of the image in all its forms. Experimenting with different presentation modes, switching between the analog and digital, projected image and moving image, while sometimes also incorporating found footage and text, they want to overcome the limitations of the still image while stretching its possibilities. Though they do not position themselves as outspoken in political terms, their way of viewing society bears a political dimension expressed through a visual language that is sometimes experimental, aesthetic, and poetic.

This project is co-financed by the Romanian Cultural Institute, through the CANTEMIR Program—funding program for cultural projects intended for the international environment and, by AFCN (the National Cultural Administration Fund).

Imagine a world where that picture you took didn’t rely on what kind of lens you were carrying with you. Imagine a world where said picture didn’t need a sensor, a piece of light bending glass or, why not, the light itself. Imagine a place where you didn’t even have to learn the basic framing, lighting, or composition skills, because they’d be useless. Well, this is Paragraphica, the brainchild of Bjørn Karman. According to the website, “It’s a context-to-image camera that uses location data and artificial intelligence to visualize a “photo” of a specific place and moment. The camera exists both as a physical prototype and a virtual one you can try.

Imagine a world where photography didn’t mean capturing the real now but rather making up an image based on a thousand different pasts.

Sounds like some kind of dystopian nightmare, am I right? To me, it feels like someone went through the whole Torment Nexus process without even the most imaginative writer going through the trouble of describing it first.

In the words of Bjørn Karman himself, this is “a passion art project, with no intention of making a product or challenging photography”, but my first sad encounter with the project was thanks to a tweet by Linus Ekenstam, an AI Educator and Designer.

In this tweet and others, Linus says the future of photography is lens-free, that this stuff is extremely interesting, and the possibilities are near-endless.

Are they, though? After all, we know AI is nothing but a glorified plagiarizing machine—something “trained” on thousands of stolen images, built for nefarious purposes like getting out of paying real artists, whatever their field.

Where are the near-endless possibilities in prompts like “An evening photo taken at Groen van Prinstererstraat 26. The weather is few clouds with a temperature of 16 degrees?”

Where’s the life? Where’s the serendipity? Where are the little details only found by people’s keen eyes and sheer luck? Where’s the art of automatically blending a dozen images stolen off the Internet?

Why are AI gurus trying to take us to a future where machines do the creative work and humanity is left for the rest? Why do they have such an obsession with seeing the world through some dehumanized, falsified representation of what the world is? Are they finding it that hard to cope with reality?

I know this is a funny gizmo meant to question the role of artificial intelligence in creative purposes. Still, the fact that it brought so many tech people stating this was the future of photography makes me even more disgusted at the whole concept of fake images generated by soulless machines.

I genuinely can’t think of a real world application for this little toy—and neither can its creator; after all, it’s just a gadget that generates a basic text to feed the AI machine by itself. The fact that people are amazed and excited about it makes me believe some of them have thought of uses for the Paragraphica. That, or they’re even stupider than one might think. And I don’t know what’s more terrifying.

As per the article’s title, inspired by our friend Linus Ekenstam, no. The future of photography won’t ever be lens-free. Unless that is, you decide to go the route of pinhole photography.

LOGAN – Once again, the Summerfest Arts Faire will host its Plein Air Painting and Photography Contest as part of the annual event on June 15 to 17 in Logan.

But this year all artists and photographers will be required to register in advance to participate in the contest.

Registration will take place at St. John’s Episcopal Church on Friday, June 9 from 5 to 8 p.m. and Saturday, June 10 from 8 to 11 a.m., according to Shirlene Davis, the executive director of Summerfest.

A late registration opportunity will also be provided at the Summerfest Arts Faire office on Monday, June 12 from 9 to 11 a.m.

Davis explains that the term “plein air” is borrowed from Nineteenth Century artists who preferred to paint in the outdoors. The Summerfest plein art contest invites artists to paint or photograph Cache Valley scenes in four days or less.

To encourage participation by children and young teenagers, she adds, a new Rising Star category has been added to the 2023 contest that will include entries by aspiring artists and photographers up to 16 years of age.

Participants in the plein air contest must turn in their finished and framed painting and photographs on Wednesday, June 14 from 9 to 11 a.m. at the Cache Valley Events Center.

All submitted paintings and photographs will be displayed in the plein air gallery throughout Summerfest. Most of them will also be available for sale during the event’s silent auction.

Prizes in the professional painting division are $800 for first place, $350 for second place and $200 for third place. Prizes in the professional photography division are $300 for first place, $200 for second place and $100 for third place.

Prizes in the amateur divisions are $200 for first place, $100 for second place and $50 for third place. Prizes in the Rising Star division will be $15 for first place, $10 for second place and $5 for third place.

For contest rules and other information, interested parties can call 435-213-3858 or visit www.logansummerfest.org

St. John’s Episcopal Church is located at 85 East, 100 North in Logan.

The Summerfest Arts Faire office is located at 69 East, 100 North in Logan.

The Cache County Event Center is located at 490 South, 500 West in Logan.

Have you ever walked by a beauty image on the shelf at ULTA or scrolled by a brilliant shot on Instagram and thought: “I want to make images like that”? Or perhaps you are a photographer who saw a picture and thought: “I could have shot that better!” You have the skills, but you don’t know how to break into the commercial market. In this article, I’ll share about how to break into the market and disclose tips and tricks to succeed in the commercial photography space.

What Is Commercial Photography?

In its most simplified definition, commercial photography is imagery used to promote a business. Whether you’re shooting a product or a person, if it’s used to advertise for a business, it falls under the umbrella of commercial photography. 

What Do I Need to Get Started in Commercial Photography?

Because the definition of commercial photography is so broad, it’s hard to make a minimum gear list. When I started, I had a few poster boards from Hobby Lobby, a bounce card, and a big window. I could never produce the images I’m creating now with such a simple kit, but I had to start somewhere, and that was where my journey began. 

Your first purchases will be backdrops, reflectors, and any props specific to your shoot. You can use simple papers from a craft store or backdrops designed for photography. My favorite brand for this is Club Backdrops. They are waterproof, they can take a beating and not show it, they are affordable, and the colors and patterns are fun and modern. Other brands I have used are Savage Universal, Replica Surfaces, Ink and Elm, Kate Backdrops, and more.

Once you’re getting into more advanced work, you’ll want to add strobes, reflectors, translum paper, snoots, and gels to your setup.

My current setup is the Canon R5, translum paper, Godox strobes, a variety of softboxes and reflectors, a snoot, the Lindsay Adler Optical Spot, the V-Flat World Lighting Cones, extension tubes, a rimless water tank, and probably over 100 backdrops and papers. In 2018, I began renovating my garage into a product studio. Over the span of four years, I redid the walls, installed an AC unit, built custom shelving, and redid the floors with waterproof vinyl “oak.” I even had a colorful custom wallpaper made and added a bold yellow sofa, making it my happy creative space to splash, style, spill, and snap.

My favorite lens to shoot product work with is hands down the Canon RF 100mm f/2.8L macro, though I sometimes switch to wider lenses for different shots. 

How Do I Get Clients in Commercial Photography?

The number one rule of acquiring clients in photography is: you attract what you put out. You have to show brands what you can shoot before asking them to hire you.

I had been working in the CPG (consumer packaged goods) space for a few years when I had a yearning to break into the commercial sports space. My schedule was quite busy already, but I decided for one year to do one unpaid sports shoot a month. I would have people vote on my Instagram (@sportsphotographermiami) for what sport I should capture next. I did everything from skateboarding to golf, boxing, swimming, and calisthenics.

I didn’t make it to the 12th month of my project month because by month 10, the work I had put out was already attracting clients. Within a few years, I’ve been contracting work for everything sports-related, including celebrity athletes, sports supplements, and corporate entities. If you create fantastic work and market it well, you’ll be pulling in clients in about a year or two depending on how consistent you are.

With my CPG work, I started with one skincare line (and my minimalist window setup) to work that is seen by brands in ULTA, Target, Whole Foods, Cosmoproof, and more. I followed the same pattern: create the work, market the work, and attract clients. Currently, I work heavily in the clean beauty space and in food.

You have to show people what you can do. I was at an event last week in South Beach, and there was a newly launched modern wine. I loved the branding and everything about the line. I networked my way around the crowd and found the man in charge. I asked if I could have a bottle to take home and show him what I could do with the wine. He handed me a bottle with a smirk, saying: “I already have a photographer, but I like the confidence.” A few weeks later, I got that email I was expecting! Showing brands what you can do, if you do it well, is how you break in.

If you’re not at that point yet in your skill level, try working as a photo assistant to a local commercial photographer. I allow aspiring photographers to assist me on certain shoots, and there is no better way to learn than working with a pro live, where you can see the process and ask questions.

How Much Should I Charge for Commercial Photography?

As in most industries, your prices will depend on a few things: your level of skill and experience, the client’s needs, image usage, and the time it will take to create the images. When I started with nothing but passion and a bounce card, I’m embarrassed to say that I charged $350 for 30 images. I can’t believe I just wrote that publicly. I knew I was not experienced in this space (though I had been shooting weddings for eight years), and I needed a justification to learn. Now my contracts are 4-to-5-digit invoices depending on the work and usage.

Tips and Tricks

Here are a few tips to help you have a smooth shoot.

1. Plan Your Shots in Advance

Make sure you have a brief or mood board from your client. This should include color scheme, style, props, etc. I require clients to give me a brief two weeks before the shoot day. This allows time for me to order any shoot-specific props or backdrops.

2. Have a Contract

I’m going to say that again. Have a contract. Always. Every time. No matter who you are working with. Your contract should outline image usage, payment, and photo delivery at the very least. Mine also anticipates situations: what happens if the client doesn’t get their products to me by shoot day? Can they get the raw images? Am I granted permission to use the images for the promotion of my studio? And more.

3. Work on Your Post-production Skills

There are a few things that separate beginners from pros: the photographer’s lighting and editing skill. I recently had to shoot a line of white products on a white background with foil lettering. Wow. That was challenging. I wasn’t sure if I should celebrate or run when they requested to move to a monthly contract. Lighting and editing skills take years to develop and fine-tune. There are dozens of tricks I’ve learned over the years, which have elevated the look of my work. With product photography, it’s almost imperative to work in Photoshop, as it allows you to make specific edits, fine-tuning fonts, colors, and details of each image.

If you feel overwhelmed reading about editing in Photoshop, using strobes, and having a studio full of specialized gear, let me bring you back to this image.

I shot this eight years ago with a window, a bounce card, and a white poster board from Hobby Lobby. I would go mad trying to work with such a basic setup now, but you can start creating images now with what you have.

The best part is always in the comments. If you have any questions feel free to drop them there, or if you work in the commercial space, I would love to hear about your journey and any favorite tips you want to add. Leave your social handle; I would love to see your work.