Are yellow page ads dead or dying? And other photography goodies….
” Impossible is just a big word thrown around by small men who find it easier to live in the world they’ve been given than to explore the power they have to change it. Impossible is not a fact. It’s an opinion. Impossible is not a declaration. It’s a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
Recently received an email on using lenses and apertures…..
“Hi Rob,Taking a look at your DVD I ordered and it is great, thank you so much for putting
this together. I have some questions and I know a lot of them will be answered as I practice
more and more and try out some of the tips you have provided. I noticed that you like to use
F2.8 for a lot of outdoor shots. I just watched the Jumping video and you used 2.8 ofcourse
but what I am wondering is, you also seem to use you 70 to 200mm lense and zoom right into
200mm. Why is that? I personally would automatically go closer and not zoom at all if
posible. What are the differences between going far back and zooming in compared to
staying close and not zooming? Thanks so much again!”
this together. I have some questions and I know a lot of them will be answered as I practice
more and more and try out some of the tips you have provided. I noticed that you like to use
F2.8 for a lot of outdoor shots. I just watched the Jumping video and you used 2.8 ofcourse
but what I am wondering is, you also seem to use you 70 to 200mm lense and zoom right into
200mm. Why is that? I personally would automatically go closer and not zoom at all if
posible. What are the differences between going far back and zooming in compared to
staying close and not zooming? Thanks so much again!”
My reply……”good question. it’s all about perspective. the longer the lens, combined with a very wide aperture, as long as you capture a sharp, in focus image (this might take some practice, but totally achievable), the more it creates a compressed, ‘cinematic’ look and feel. Other wise it might look bland, flat, and, well, like a snap shot. Little perspective. Make sense?”
She’s referring to when I shoot this style of shot:
Are yellow page ads dead or dying?
Another email I received from Ben…..
“Hi Rob
I was looking if you had a yellow page add in Sudbury , did not found one . Is it something of the pass , what do you think ?Ben..”
“Ben, we’ve cut way back on YP for many years now. It’s not dead, but dying, and for someone who wants to be aggressive with their photography marketing it has a place. We’ve relied more on our list of past clients, both via email, direct mail and social media, and displays, to drive our marketing. We have a strong market position in our city so going that route makes sense…..cool? Rob”
When you analyze yellow page marketing vis a vis marketing fundamentals, those
who do still go to the yellow pages-an ever diminishing crowd, no doubt- are, still, for all
intents and purposes, “qualified leads”.
who do still go to the yellow pages-an ever diminishing crowd, no doubt- are, still, for all
intents and purposes, “qualified leads”.
After all, they are looking for a service that is specific to what you
offer: portrait photography.
The key here is to NOT throw all your eggs in one basket and hope a great big expensive ad will create
magic. And when you do advertize in the yellow pages, find ways to STAND OUT….don’t be
just another boring, logofied, corporate and sterile voice in the crowd.
magic. And when you do advertize in the yellow pages, find ways to STAND OUT….don’t be
just another boring, logofied, corporate and sterile voice in the crowd.
Use a powerful headline, sub headline and make sure you arouse curiosity,
an offer, a reason for them to want to check out your website, where the sales
process continues, or calls your studio, where, again, the sales process continues.
an offer, a reason for them to want to check out your website, where the sales
process continues, or calls your studio, where, again, the sales process continues.
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Another email from Bruce on lighting…..
Rob,
Just read your article for Shoot smarter. I personally use Lumedynes for my on my outdoor shoots with an 400 ws unit and a couple 200ws’s. Find the weight of the heads are very light with the battarys down at the bottom of the light stand for stability. However, if I didn’t have that, I like the Paul Buff unit as I shoot White Lightning also.
One thought I have regarding the umbrella outside. I use a Westcott Halo or Mono. They are conical both in the front and the rear so the wind tends to be as big a factor over conventional umbrellas. The wind seems to go around it better. Plus, the light is pushed through the front with no light lost on the sides. Worth a look. The difference between those umbrella/softbox can be the weight of the person needed to hold the light stand.
You might also look into the Redwing light stand. This stand is unique in that the legs spread out a little more than the conventional stand for stability in a breeze plus when you pick them up the legs collapse. So moving it around means you don’t have to worry about bumping with your legs or going through door ways. Ever try putting a light stand between pews? This thing makes it a dream. Put it between the pews then set it down and the legs automatically extend down.
A buddy of mine did a lot of beach shoots. He took pieces of pvc pipe and slid them over the legs of his light stand. The length of the pvc are longer than the legs giving him more stability in the wind. Plus, with the caps on the ends kept the metal of the legs from getting the salt water on them when the stand was in the surf. I am going to do the same thing with my location stand except I might use aluminum as I can tap the leg and put on a set screw to make the configuration more flexible. I am midcoast so the salt water is not an issue unless the water softner goes out.
Been doing this gig for 35 years and try to work smarter not harder. Bruce L. Dynes, Andover, MN, www.bruceleephoto.com Really like your insights. Bruce”
Bruce is referring to this light. Click on image to see on the website where it’s for sale.
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Photography Tips. How to get perfect High Key portraits every time.
I love high key portraits. They are one of my favorite portrait styles and a look that I use in my
studio just about every day. I sell a ton of these of portraits. So what set up do I use and what
enhancements make these backgrounds look great? To help with this, I created a video on the
Photoshop tricks that really make these images pop. Here are a few samples of what I mean…
I simply love the look, feel and simplicity that high key portraits offer. My clients love them, too and
I sell a ton of images every year based on this look. Families, couples, babies…you name it!
I sell a ton of images every year based on this look. Families, couples, babies…you name it!
The favorite look for me is when I create a black and white high key image of a child or in the case of the next image, two siblings, where the image starts to take on a painterly, pencil drawing look. This look is very classic and timeless.
Of course,straight on black and white images rock too!
Another favorite variation would be a sepia image or half sepia:
Of course, regular bread and butter portrait of families any size are also shot on the high key drop in my studio……
How do I get my images on high key? There are two sides to that coin. One is at capture and the other is during the workflow process which I’ve included a video later on in this newsletter.
Look way back there and you will see two umbrellas.
Above: Here’s a better angle. Those are the lights that will add the extra light needed to
create pure white on the background. The exposure on the already white background needs to be around one to one and half stop over what your main light is.
create pure white on the background. The exposure on the already white background needs to be around one to one and half stop over what your main light is.
In my studio those lights are at f11.5. My main light is, you guessed it, f8. Anything less and it may get muddy. Anything more and I may get blowback and lens flare from too much power.
Notice that I had umbrellas. I no longer use umbrellas opting for small softboxes. It doesn’t matter what kind of light source you use, as long as it’s controllable. Use what suits you best!
Here’s a video on how I create high images in photoshop. It helps explain the second part to this equation.
yours in photography,
Robert Provencher
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