Art is subjective, but the professional world of commercial photography is far less so. With this in mind, how do you work out if your work is good enough to make it as a professional photographer or one day will be?
Articles written by Scott Choucino
From very dated soft lighters and Broncolor Hazylights on big stands through to modern octaboxes and reflectors, in this video, I look at them all in relation to my favorite genre of photography.
If like me, you have always wanted to be a commercial photographer, then having a good agent is a really important part of this. However, there are far more photographers than there are agents, so how do you get one?
I have always been a bit of a lighting snob. Camera-wise, I'm happy to go 35mm instead of medium format. For lenses, I'd use a Canon instead of a Zeiss with no concern, but when it came to lights and modifiers, I'd only use Broncolor. So I was happy to review this new (ish) light.
Image theft is both morally wrong and also incredibly frustrating. As a photographer, my images have been stolen so many times that it now no longer upsets nor surprises me. Until recently there wasn't a great deal I would do about it, but now I have a great system.
Professional photography can be a really secretive world. Finding out what your competitors charge, who they are shooting for and how they got the contacts, and the way they managed to light that epic image can be a real challenge.
The internet has a wealth of information available for free, but there are some questions that photographers seem to dodge as a question. Especially the more British of those. Let's try to answer a few of these.
Photography is as much about sitting at your desk as it is about sitting behind the camera, especially for us studio folk. I probably spend twice as much time sitting as I spend with a camera in my hand, so I have made sure my setup is spot on.
It has never been an easy task to make a profession out of something that is fun, and to keep that thing fun, and in 2021 photography is certainly no exception, but are our expectations wrong?
As a long-term pro, it has been a while since I have looked into beginner studio lighting, and boy, has it changed since I purchased my first units! In this video, I look at a great first-time studio light.
The SLR camera is a great and versatile tool for pretty much every photographer, but sometimes the systems don't offer enough control. Which set me about the task of building the ultimate camera for my work.
Photography, as a hobby and profession, comes with a lot of gear. There are the obvious cameras, lenses, and lights that we all own, but then we start to delve into the oddities of the art form. Throw in a bunch of eccentric professionals, and you can expect to find all sorts of stuff in their studios.
As a working professional commercial photographer, the return on investment (ROI) of your equipment is very important. Or at least it should be. In this video, I look at what actually makes me money.
As a professional commercial photographer, most of my purchases are made as investments. Sadly, not all of them have been, but the general ethos is that I have to invest in my photography to stay relevant in my career choice.
I am sure you have all seen the many different charging walls that you can build. I had one myself, but having my chargers in a static location no longer worked for me, so I built a charging station on a trolley.
For many of us photographers in the commercial world, the key to getting good jobs for exciting campaigns is having the right agent by your side. However, finding the right agent and with space on their books for you can be incredibly hard to do.
With the recent trends in mirrorless cameras, and the price of medium format coming down to a point where they are actually financially viable for most of us, does the 35mm camera still reign over digital cameras for the best bang for the buck, and if so, which one wins the race?
One of the greatest things to happen in recent years for photography is the huge increase in incredibly well-designed budget lighting systems. Although most of them come from the same factories as the premium brands, offer similar specs on paper, and often have alarmingly similar looks, what is the real difference?
Until 10 years ago, I didn’t know that being a professional food photographer was even a thing. I don’t come from a creative background, so if you had asked me what I thought they did, I would have been very far from the truth. Hopefully, I can shed some light.
When I started out in photography, I didn't even know that ad agencies were a thing. To be honest, I didn't know a lot at all. However, over the years I have picked up a few tricks that will hopefully help you.