Jim Graham Needs A Publisher

I have a friend who needs a publisher, and because I adore his work so much, I am reaching out through my networks and beyond to see if I know anyone who can help. I’m a good connector, so I have to believe this can work. Can you help?


Jim Graham and I have been friends for a crazy long time. We met in 2001 at a workshop in Santa Fe, and have worked together intermittently over many years, shooting incredible weddings around the country.

His work is exceptional, no matter where he chooses to focus his lens. His ability to see minute detail, sweeping dramatic panoramas, bold graphic compositions, and everything in between, has always been spectacular. He captures subtlety and nuance the way few photographers do, and even then, only when they are deeply passionate about their subject. Jim takes a lot of workshops as an excuse to keep traveling and honing his vision, and creates beautiful pictures in Iceland, Nantucket, and  everywhere he goes.

But this particular body of work focused on fox hunting takes my breath away, and he shoots them right next to his home in Delaware. Jim loves these people, their dogs, the horses, and the land, and I can feel it in his pictures.

I don’t hunt, don’t know much about it, and don’t hang out with horse people. I'm personally against hunting on principle, and I get that this is a very privileged glimpse of a controversial activity in today's world. And still, I cannot deny the beauty of this work.  And apparently everyone is happy to let the fox get away.  It was all for the fun of the chase!

Jim captures the best of it: the solitude,  the connection, the thrill of the chase,  the beauty of the present moment. And above all,  he shares the love of the land, of the animals, and the seriousness of the sport with a sense of humor.

This book brings me so deeply and magically into a world I could not easily enter. I would buy this book,  for the sheer beauty, elegance, and creativity of the images, which feel both awe inspiring and intimate depending on the page. I am amazed one photographer has created this gorgeous range of photos, so many of which feel like paintings, all of which feel infused with love and passion.

I recently finished a book incubator course where I learned all kinds of things about publishing a book. Probably the most depressing realization was the idea that you need a platform and a whole lot of followers BEFORE a publisher will consider you. I get it. Publishers are struggling too, and they want to take advantage of your network. They want to know you are a sure thing before they gamble on you.  Where's the fun in that?

Well, I'm not much of a rule follower. And I'm probably a generation too old to buy this story. I want to believe that inspired creativity can still come out of nowhere....from invisible to visible in the blink of an eye (am I supposed to say click of a shutter?) I want to prove the theory wrong, show how the system is broken, or perhaps share an outlier with you. Because honestly, the best photographers I know absolutely suck at self promotion. And Jim is one of the best photographers I know.

I want you to see what I see, and KNOW that this is a book worth publishing, even if you have never heard of this guy before.

Have a look. These are a few of my favorite spreads from the version he sent me.

Feel free to reach out to me, or to Jim directly if you want to be his fairy godmother or godfather.

Any day is a good day to make someone's day!

all photos © 2020 Jim Graham Photography

Are you ready with your photos for the press?

Natasha Schlesinger in Poets and Artists blog

Allison Kanders in Architectural Digest

Nathalie Molina Niño in Forbes

Are you ready with your photos for press?

In the past 2 hours, I have received two completely different, urgent requests for images. One came from a client, the other from the magazine directly, both with huge circulation. Both wanted images to illustrate profiles about these women in leadership roles in their communities.

In each case, my client was ready. She had a fabulous image to offer, retouched (but not overly so!!) and ready to go. In each case, people were reaching out to me for the highest resolution image available. (My clients already had them, they just didn't know it)

In one request, an assistant photo editor asked me for access to more images from our shoot (and showed me the one my client had sent them).

So did I give her access? ABSOLUTELY NOT. I told her I'd ask the client, and get right back to her. I also asked what her editorial usage rate was. (Please tell me you know that publications need to pay photographers for usage, and that "credit" is not payment!!).

I texted the client. She said "no, please don't send other images. I want them to use the one I sent" (her eyes are closed, she is laughing, and we both love this image!)

So I wrote back to the photo editor, apologized for not being able to send other choices, and asked where to send the invoice should they choose to run the photo. Notice my client always comes first, and just because a magazine has one photo does not mean my client wants them to have more!

Here's the thing.....publications WANT images that haven't been seen before. But you don't HAVE to give them anything you don't want to. And you DO need to check in with your photographer about usage. Are you allowed to give these images to anyone, anywhere, without further compensation to the photographer? Do you know the difference between editorial and commercial usage? Do you need to pay your photographer if the magazine won't pay for usage?

Already, the publication responded that they don't have the budget to pay for usage (which is how they respond about 80% of the time...even a the highest levels) So as the photographer and copyright owner (whoever pushes the shutter owns the copyright, unless otherwise agreed) the choice is mine.  In this particular case, I decided to let them use this photo, because they reach my exact target market of upscale New Yorkers plus many hotels in the city, and because I love the image so I would like to see it in print. Otherwise freebies are a non-starter.

I don’t need "exposure" which is always what the publication is offering, and when someone else benefits financially from the use of my images, so should I. My exceptions are limited. My other option would be to ask my client to pay for this extra usage. In some cases I do that, and the fee for them is nominal given the advantage of the exposure for them.  People DO look at the photos in an article, often before they read a word.  They DON'T look at photo credits.

So what if the magazine or publication is send a photographer to photograph you?
A photographer shooting for a publication is generally paid an editorial rate, though the publication typically asks that the photographer not release any other photos until 6 mos after the publication is released, which is usually 3 months after the shoot. For you, as the subject, that means you wait 3 months to see yourself in print, then you have to wait 6 more months to get any images from the photographer. (Always ask about these terms....a lot of people I photograph are surprised by them). Not only that, magazine editorial rates are typically between $100 and $500 (far less than a day rate for any serious professional photographer), so if you want copies of those images, and a look at what the magazine didn’t print, you should expect to pay a fee for them. All photographers work differently, so be sure to ask!

Lee Harris, multi- page feature story in Face The Current magazine

So when the media comes asking you for an image to go with a story about you, ARE YOU READY?

-If you have done professional photos, do you have the print-ready, high resolution images at your fingertips?

-Are you super clear whether you can have these published without your photographer being paid further? Do you own the copyright? Or just the right to use an image for your own media? For how long? Do you know the difference in usage agreements?

-Are the images being published in a magazine or blog that makes a profit? If so, THEY are benefit from your images (this is a type of commercial usage), and chances are high your photographer needs to be paid above what you paid for the shoot originally. Check before you end up in a copyright infringement situation! Professional publications generally know better, but younger bloggers may not remember to ask!

-Do you know exactly what the photo credit on the images should be? Will the online version have links or tags, for you AND your photographer?

Why I love photographing women over 40.

I love photographing women over 40. They bring such beautiful energy to the process.

I instinctively know a lot about the psychology of photography.  This juicy TedX talk by a photographer and a psychologist really nailed some key issues we portrait photographers face.  I have lived it for over 2 decades as woman and as a professional photographer, primarily of women. Do you "Own it", "Pose", "Diminish" or "Avoid/Run" (in life, and in front of the camera)?   What a great observation by Peter Hurley!   I have worked with ALL of these types of clients over the last two decades.   Now I prefer to work with people who are really ready to "own it"....because my life is too short, and these are the people I can help most. If you are afraid to really see yourself, warts and all,  you will probably not like what I show you.  I am very good at getting to the heart of people, and exposing something deeper.
One of the reasons I now love photographing women over 40 is that they have come through the other side of this issue of self-acceptance. They are ready to own it.

I know what it feels  like to be 20-something with a warped self-image, always comparing myself and falling up short. It didn't help that I worked in the fashion photography business with gorgeous models on a daily basis.  At 5’6” and 120 lbs, I was always the shorter, fatter woman in the room by comparison.  

I have met so few women in their 20s who are truly comfortable in their own skins. Even many of my model friends back then were deeply insecure about how they looked....just like the Miss Universe in this TedX.....because imagine a life where every job you apply for (and you apply almost daily for jobs) involves sitting in a room of stunningly beautiful women...and sometimes the client just wants a redhead instead of a brunette...and it isn't really about you....but that isn't how it feels in the moment.  Most young women, if they are honest, find that "it's not about you" idea hard to understand. Thank goodness we can grow out of this stage.

Surprisingly (or maybe not), I find that women over 40  are so much more loving and accepting of themselves. They have bridged this "gap of self acceptance" Peter Hurley refers to. They bring confidence, not a mask, to the experience of being photographed because they WANT to see themselves as the world sees them, as I see them. They WANT that authenticity. They dislike the gimmicks, the excessive retouching, the excessive makeup....the "tricks" of the commercial fashion photography trade.  They want to look beautiful, yes, but they want to look REAL even more.

I love how so many women over 40 have baggage they are not ashamed to carry. I appreciate the way they show up and seem to say "This is my baggage. I am ok with it. But I'd prefer if you could just crop it out of the frame, or put it in the corner while we shoot" And we laugh knowingly....and get on with the work of making beautiful images.  They show up for themselves, as themselves.  I love that.

Of course, for women, a lot of this growth happens in our 30s.....I call it the transition decade.....the decade where we grow into our strength and power.  For some it happens earlier. For some it happens later.  Because none of this is really about age. All of this is about emotional growth and self acceptance.  And from that place, we find our real radiance....because it comes from within, not from some external source.  There can be no 'external validation' if we don't believe in the beauty within.  A pretty picture is meaningless if we feel ugly or unworthy.  So we may criticize the picture, but what we really don't love starts in a deeper place. (Unless it is just a bad picture...and of course we all have plenty of those...different issue...)

Anna says, "The larger the gap between who we think we are, and who we think we should be, the more likely well feel badly in front of the camera....the lens becomes an extension of our own harshest critic, ourselves"  I agree, and I wish I could help people close this gap, but I am afraid it is an inside job.  I can certainly help, because I have always tended to see the best in people.  I see radiant beings, even if they are covered in mud.  The uncovering takes time.  I know.  I have been there.  A good photograph can be a wonderful reflection of who we are, and where we are in our personal evolution.  Photography is not magic.  It is a collaboration between two people and when they are in sync, the results can look magical. When the subject and photographer are not in sync, someone, and possibly everyone,  will be unhappy.

Now I prefer to work with people who approach life and being photographed ready to 'own it'.  These people are in my tribe. A lot of people aren't really ready for this level of exposure. They want to look 'perfect', whatever that means.   So I tend not to work with those people, because I believe imperfection is what makes us awesome, and deeply beautiful.


PS: If you follow my blog or FB page, you know I have been photographing Malala Yousafzai for the last year more or less.  She is not over 40.  In fact, she is probably the most photographed 17 year old on earth.  And she is wonderfully comfortable in her own skin...more than most women at any age.  She brings her full self to every photograph.  She never runs, avoids, or hides.  She knows her value and her mission, which come from a deeper place than her image.  But then, you knew this post was never entirely about age, right?

Youngest Ever Nobel Peace Prize WInner: Malala Yousafzai

10/10/2014

I couldn't be more thrilled for this wonderful young woman. She is a true role model who works so hard for others and has done so much already.

At 17, she is the youngest winner ever of the Nobel Peace Prize.

Congratulations, Malala, on this incredible achievement. I know it will encourage you to work even harder on behalf of young people and their right to an education all over the world.

What I love as well is that the co-winner of the Nobel Peace Prize this year was an Indian man, Kailash Satyarthi.  Even the Nobel Committee emphasized the point: "The Nobel Committee regards it as an important point for a Hindu and a Muslim, an Indian and a Pakistani, to join in a common struggle for education and against extremism," said Thorbjoern Jagland, the head of the Norwegian Nobel Committee.

I couldn't agree more!  How insightful of the Nobel Committee to make a choice like this.

Portrait of Malala, then 16, in a classroom in the Masai Mara region of Kenya. May 2014 © Tanya Malott

 I am so honored that I have been asked to photograph Malala and the Malala Fund team in action on several occasions this year.

Visiting Syrian refugee children in Jordan

Above and below are photos of Malala and the Malala Fund in action that I made on two different trips with them this year.  She does this work on her school breaks, and she brings her homework with her!

On this trip to the Masai Mara, Malala and the Malala Fund visited several schools created by Free the Children 

Marianne Williamson and Rickie Byars Beckwith at the United Palace House of Inspiration

The United Palace House of Inspiration surprised me.  I went to see Marianne Williamson speak, but I left with so much more.  Nothing short of inspiration.

We walked in dancing.  It was hard not to.  The beautiful choir had half the audience standing and dancing in this beautiful old 1917 auditorium.  I arrived with Annette, and Cati met us inside.  We had no idea what to expect, and walked away energized and dazzled by the Bishop Xavier Eikerenkoetter (son of "Reverend Ike"),  mezmerized by the voice of Rickie Byars Beckwith, and just in awe of Marianne Williamson.  It happened to also be the 50th birthday of the Bishop Xavier's beautiful wife, Annette (funny synchronicity) and the 47th anniversary of the UPHI. We couldn't have picked a better day.

Our adventure started with a little notice I saw on Facebook about Marianne Williamson speaking in New York.  I wanted to hear her live and in person, because I was thinking I would like to photograph her for a project I am just beginning, and I needed to feel her presence for myself.  I invited Annette to join me, since we are working on this project together.  She asked Cati to come, knowing she would love it too. 

We fell into a goldmine.  Not only was listening to Marianne even better than I ever imagined it could be, but the music was spectacular, and Rickie Byars Beckwith was an absolute goddess on stage....her voice, her presence, all of it.  And the Bishop?  Incredible.  You should just come hear what he has to say for yourself.

I got to hug Marianne after the service, and I enjoyed watching the way she lit up with every person who waited to talk to her and have her sign a book.  Everyone had a story, and she seemed to really enjoy hearing them. We decided not to wait in the signing line, even though we both bought one of her books.

175th Street and Broadway is a long way from Sag Harbor, NY.  And it was well worth the trip.  Next time, we would like to bring an entire busload of our friends.  We sang a bit, danced a bit, smiled all day, and just couldn't believe our luck to stumble upon such a magical experience.  

I can't wait to go back!

Clearing space: my key for unlocking great plans

A key is a very small thing. But you never quite know how much it will unlock. A box. A closet. A universal puzzle like the shape of the earth or the motion of the planets.

Yesterday the key for me was as simple as cleaning my closet and rearranging my bedroom. I worked with a woman who calls herself a transformational stylist because she works at a deeper level with the goal of unlocking a person's trapped energy.  Stuff blocks energy.  Most of us know that. And yet clearing the clutter can take such a long time.  Why is that?

At some point just after lunch we found the key. We brainstormed a project that is so exciting to both of us that we don't care if it takes years to complete. It's one of those projects that makes you feel like you will put all of your talents to perfect use and you will have to bust through a couple of fears along the way… And yet the purpose makes that all seem  easy.

I have been looking for a key for several years now. I've been wandering around the same old house opening door after door. I think I just found the key to the outside where the sun shines and the moon glows and the wind blows and I just feel bigger.  I am so ready to get out of this house, the metaphorical house of clutter and stuck energy. 

Now, I love the house I live in more than ever.  I wake up every morning feeling such love for this place.  Everything feels shifted.  Time to get to work on a very important project.

I removed the bi-fold doors and installed a curtain to make the closet feel softer. I cleared out half of my clothes as well, so everything inside makes me happy.

A little corner of inspiration that I see daily. The portrait is of Georgia O'Keefe. The gold leafed Tibetan prayer beads are a recent gift from amazing jewelry designer Gretchen Buhler Ventura.

My dresser full of rocks, shells, photos and other goodies that inspire me.  Next step: paint the dresser grey and change the knobs.

Happy Birthday Malala

Happy 17th Birthday, Malala!



I love seeing the journey that you have begun, and I look forward to seeing where your path takes you.  I hope that you and your father will see many more double rainbows along the way!This trip to Kenya and the incredible schools we saw being built (and helped build!) there will always be a special memory for me.

*In Chinese culture, red symbolizes the feet and violet represents the head.
So a primary rainbow appears to illustrate a human descending from heaven.

The secondary arc has reversed colors, with red on the bottom and the violet on top, 
so it represents the ascending from the material earth to heaven.

Therefore, seeing a double rainbow is considered a very auspicious occasion,
one that seemed appropriate to send on your birthday.



#behind the scenes story:

We spent a week working together in Kenya: the Malala Fund team, a Free the Children team, and Davis Guggenheim and his film crew , who are working on a documentary about her to be released next year. 

Typically we were eating breakfast at 6am and on the road at 7 to head to one of the local schools that Free the Children had built.  By the time we arrived, the girls were already in class.  They were happy to meet Malala and have her join them in class.  We met many girls, heard many stories and shared many of our own over the week.  We had limited contact with the world for that week (wi-fi in one tent only) and it was a beautiful experience.

On our last day, most of us were almost too tired to go on a safari, but it seemed a shame to be so close and not go....and we were well rewarded.  We saw all of the usual suspects: zebras, warthogs, gazelle, 2 cheetahs, a sleeping lion, giraffe....everything but elephants.  Suddenly, it began to rain.  To pour.  We began to head back, exhausted but happy.  Then just as suddenly, the rain stopped.  The dark clouds remained, but the sun broke through.  As the photographer on the team, I was on the lookout for anything to photograph.....because the light was truly spectacular.  Then came the double rainbow (more than I could have asked for!).  We stopped the cars.  Our guides were nervous to let us out....but we had Masai warriors with us, so we feared nothing.

This brilliant double rainbow appeared for about a minute.  We had just enough time to grab a few photos (a group shot as well, though the rainbows were fading). Indeed we could see both ends of these glorious rainbows.  It rained most of the way back, and the slippery mud roads were frightening in places (we thought our car was going to flip in one gulley).....but we smiled for the entire journey.



More about Double Rainbows.

I asked my friend Elizabeth MacLeod for her insight about double rainbows.  I got SO much more than I could have imagined.  This deserves an entire post.... but for now, it rests here:

Here are a few more insights into double rainbows for you:

The double rainbow is the infinite inside the infinite. The second rainbow is a reflection of the first, which also is a reflection. The awe of the reflection signifies the possible transformation one could see in their lives. Because a rainbow is so inspiring and can alter you with just viewing one, the transformation that can take place when seeing too, or capturing two can take you quickly from one state of being to another. You are moving inside to the other realm and the other realm is letting you see it for a moment.

The possibilities that come from something like this for the human experience is that of beauty, that of life, that of the possibilities that exist that we don't always know about or want to see. When we see the double rainbow, it could mean that much transformation is occurring, BUT… when captured on film for another to view, there is an opportunity to be of service to another as you can help them to transform and help them to see the possibility, which is sometimes more important than that the actual transformation.

Without the possibility for such magic to occur, one can remain stuck in thinking it's not possible. And that is such a shame.

To see a double rainbow and photograph it brings a pleasure the ordinary person finds difficult to achieve. So for a brief moment, an opening can occur, providing a vehicle for you or someone to be catapulted into another realm of beauty, another realm of happiness or even, sent into the realm of possibility. For some, it might just open the door to magic.

And when that happens, even just with one person, the whole world shifts a little, making it somewhat of a potent moment. Potent in intention. Potent in accumulation. Potent in accreditation that something beyond what we know and beyond what we understand exists.

With that, we can open into "then there must be possibility" and that is really the meaning here when people talk of double rainbows and transformation.

It is a blessed event. Spiritual and material in nature. It open this door. and widens possibility.  When we talk of widen possibility, we can then be open to miracles. And once we see a miracle, then we can become the miracle as well. That is the beauty of a double rainbow.

Miracles.

Then add Malala. She is a miracle. In this picture, 2 loves. 2 reflections of love. A rainbow is individual drops of rain reflecting. To have Malala here, with her father, a reflection of love . .. and to see the rainbows in the background with all the individual drops of rain creating a beautiful, not one, but two rainbows, means so much possibility and so many miracles can take place in the world as there are many watching.

To me, it symbolizes individuals transforming in light of all that has happened, but that we are all one in many colours, races religions. We have bypassed all of this with this young girl and her profound impact on the world.

It's like to me a rain drop that falls in the ocean and becomes one with the ocean, but yet still remains a drop. that's what this picture feels like to me. Does that make any sense?

It's like the whole world is with her, on a spiritual plane and an earthly plane. For a double rainbow to be present here, with her, and her father, that's transformation in it's biggest form. And we are all witnessing it and can be present to it.  It's also beautiful.

And you are the catalyst for our seeing this…

-Elizabeth MacLeod,  Founder and Author at Wild Woman Enchanted

Make the most of hiring a professional photographer

You may think you just need some new head shots.  Chances are, you should be thinking bigger.

Jill Sorensen in Coastal Living Magazine.  Photography by Tanya Malott

What does your social media headshot say about you?

Left: an online photo I found.  Right: my portrait on the train.

I have been on the road for a week with my cameras, and on the way back to NY from DC, I met this man on the train.  Because I had so much editing to do, my equipment was everywhere....cameras, hard drives, CF cards, a card reader.  Asking if I was a photographer wasn't much of a stretch.  But this man, a doctor, asked a better question: Did I think I could I make a nice portrait of someone unphotogenic like him?  My answer?  "Of course!"

We talked a bit about the necessary evil that we call 'social media'.  He hates it.  I'm not a huge fan either.  But I know that you have about 3 seconds, maybe less, to make that first impression with your photo.  From there, people will often decide whether of not to read further.  As we spoke, I was noticing all of the other stuff I see as a photographer.....the light, the background, the comfort level of my subject as we talk.

In a portrait photograph, one of the first things I notice is whether or not the person seems engaged.  Is this a person I could connect with?  Did he or she connect with the photographer (we are people too...not just our equipment)?  Did he or she put up some sort of guarded 'photo face', you know the one that says "I'm standing here with a stupid grin on my face, what more do you want?"  While technically competent, I find most professional headshot photos completely lacking in personality and I think we have moved beyond this in the world of social media today.  People want to feel who you are, not just see what you look like.

From the minute we met on the train, N. and I were chatting easily, so connecting with the person wasn't a problem.  He is clearly a smart man, with a kind and gentle side that he thinks never comes through in photographs.  He told me he usually looks scary in photos.   He also told me some interesting things about cancer that I never knew (he's a pathologist), and within ten minutes, I picked up my camera and made the photo on the right.

He was worried he hadn't shaved, and wasn't wearing a tie.  Those were the last of my worries and that isn't what I saw. The hand gesture was all his.  I saw him do it, asked him to hold it, and picked up my camera all in one motion.  I knew I had something in the eyes, and when I looked him up on line later I found the photo on the left. 

If you ask me, no amount of shaving or wardrobe will help people connect with you if you don't have a connection through your eyes, or some sort of feeling in your portrait.

So yes, I can meet a random stranger on a train, and make a nice portrait without anything fancier than a bit of conversation.

Inspired by Barbra Streisand: Glamour Magazine's Woman of the Year

This article about Barbra Streisand by Sheila Weller really inspired me.  I learned a lot I never knew about Barbra and felt inspired to use her words and make this for the daughter of a good friend.  I hope you find a young woman to share it with as well.  Barbra is a true inspiration for women everywhere.

Every Day Is A Beach Day

We moved back to Sag Harbor just over a month ago and my routine now is exactly as I imagined it would be....and better.  For six years, I lived away from the water, in the landlocked metropolis of Atlanta.  The trees there are spectacular, particularly in the Spring and Fall, but for a bi-coastal water lover who grew up in Boston, San Francisco, and New York, living near the water has always been more of a necessity than an option.  I am remembering why.

Main Beach, East Hampton

I never imagined how luxurious this transition could feel.  Every day, I load up my car with my son, 2 dogs and camera and head off to school, just 5 minutes away.  From there, I decide which beach to visit with Sparky and Spencer, our retriever and shepherd mix dogs.  Sometimes I opt for the nearest one because their whining is making me crazy.  But sometimes I just aim for the one I haven't visited in a long time, or the one I suspect will be most empty.  Each one has a different feel, and a different character, created by the homes that line it and the people who walk on it.  Sometimes these differences really shock me (more on this another day). 

Georgica Beach, East Hampton

Crashing waves in motion at Georgica

Every day, I consider leaving my camera at home.  And every day, I am glad I didn't.  Each day is different....the light, the water, the beach itself.  And I approach each day asking myself how I can see it differently, how I can capture it differently.  I think about how I can become a part of the image, like a painter, by use my camera differently, and photographing things not as I see them, but rather as I create them.

Translucent waves, long exposure, cresting at Eqypt Beach, East Hampton

A wave, interpreted in time.  Georgica Beach.

Some days I focus on  the waves, the water, the motion.  Some days I focus on the sparkle on the water or the translucency of the waves.  Some days I see fishermen, or birds or shells.  Some days are full of color and contrast and I consider whether to work with or against the light.  Other days are completely monochromatic and hazy. I tend to focus more on the water than on the sky, and I bring different lenses from time to time just to have new options.

Fire on the water at Main Beach

Homeless on Long Beach

Sunset interpreted, at Haven's beach

I can't imagine what the next months will bring, but my intention is to spend at least one day at the beach every week for a year, and see where I end up.  So far, I have not been disappointed.

Getting the most out of your photoshoot with a professional photographer.

Most entrepreneurs need photos for their websites.  Many think what they need is a head shot or simple portrait, but with a little more planning and forethought, they can get so much more out of the time they spend with a professional photographer. This is a story about some quick and easy ways we can made several years' worth of photo options from just a little extra effort in the planning stages.

Two summer looks.  Max Eicke inside with his table and chairs, and outside with his "T Table" and stackable chair. Using the theater as a backdrop was my way of telling the world where he was based,  instead of writing it in a caption.

People often ask if I do head shots, and I do, but I prefer to say I specialize in shooting 'entire websites'.   For me, a full website session takes only a little more time, and for the money you were spending anyway on a portrait session,  this gives you a much bigger bang for your buck.  

A homepage image from MaxIDNY.com

Max Eicke's story is a perfect example. 

Max designs furniture. I wanted to photograph him with his work (and some of his work alone) in enough different outfits that he would have photos to send to publications for years, and in any season.


In a few hours, we shot six different outfits in different locations, covering a range of seasons and levels of formality using his furniture prominently, or in the background in almost every shot.

The key to a shoot like this is planning out out your wardrobe in advance, changing outfits for each location, and of course, having a great location to work in.  I often say your background is 50% of your image and you should use it to your advantage. 

I also like to capture a lot of product shots (without people) and product detail shots for my client to use the way a cook uses spices to season a meal: sparingly, but with impact.

Above, some of the many photos we shot for Max, and the story he wrote about the experience on his blog.

A playful closeup with one of his cubes, and a summer look down to the flip flops with his "E" desk.

Same background as above, but much closer, in a more wintery outfit.

Max has since been featured in dozens of blogs and publications (including the NY Times) and my photos have been included every time. A lot of publications don't have the money to send out a photographer to tell your story, but if you have good quality publicity ready photos, they will often print them, and pay me for the usage (Ask any photographer what makes them happy, and 'credit or links' and 'payment' will be somewhere on the list). It helps to have a range of images and focal lengths,  meaning tight shots, and wider ones showing some of your environment too.

Many publications are looking for 'lifestyle portraits' meaning not just a head shot, but a portrait that also says something about you and what you do, all in one photo.  Of course you can use these images  all over your website, blog, and social media....but it helps to hold some back as well. That way, you have 'fresh' images that have not yet been published, and you can maximize the value of that one day you spent doing your 'website photo shoot'.

Not all portraits require faces.  Not all chairs require people sitting in them.  After considering what you would 'normally' do for a portrait, you might want to think about other options just to make sure you have an interesting mix of photos.

Two years after our shoot, Max is still getting these photos published with little stories about him and his work all over the world.  Sometimes we add a new piece with a few photos here or there, but nothing that requires the complexity or expense of that first shoot.

We photographed this particular table on a different day, but it only took a few minutes and his been published dozens of times in blogs and print.

What Your Business Is Teaching Me about Mine

Another good learning moment I recently received from someone else's business:

I wanted the new Kate Moss book...all 8 covers.  I tried Amazon (cheap, but can't find a phone number anywhere to explain that I want 8 different covers)  Won't work.

I checked with local Barnes & Noble stores.  A nice manager at a local Barnes& Noble store was able to locate about 3 copies of the book, but wasn't sure which ones she had, and promised to call me when they had more. That was weeks ago, and I haven't heard anything since.

Finally I connected with Barnes and Noble by phone, ordered the book, explaining I wanted one of each cover, and I received 8 books, but not 8 different covers.  I then had to carry them all back to the store for a return.  They were so heavy, and it took so long to get to this (more than a couple of weeks), that they would only offer me a store credit.  Annoying, but fine, since I buy a lot of books and will use the credit as long as I don't lose it first.

In the meantime, I had called Rizzoli, the New York store and also the original publisher of the book.  They had a full set of signed copies;  in fact they had two full signed sets left.  I bought both.  They sent one set to my NY address by messenger, and shipped the other to Atlanta, exactly as I requested. Perfectly wrapped.  Right away.

Did I pay more for all of this service?  You better believe it. Or rather, I paid the retail price of hte books....not the Amazon or Barnes & Noble discounted price.  But I got what I wanted, I  had a great customer service experience with an intelligent person who could actually help me on the phone, and I got what I couldn't find anywhere else.

This was an 'a ha' moment for me.   I realized the kind of service provider I aspire to be.  I don't want to be the discount solution.  I want to charge you a fair price and deliver a beautiful product just as you expect.  No mistakes.  No crushed corners.  No cheap packaging.  And I still love Barnes and Noble and Amazon.  When I want the cheaper solution, I will go to them again.  When I want the luxurious solution, Rizzoli gets it right.  Thank you for that lesson.  I still have some work to do.  Great product requires great service and delivery.  Anything less diminishes the product.