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I use Adobe Photoshop Lightroom and Nik Software Silver Efex Pro for 95% of my editing. Recently, I got my hands on the Intuos5 from Wacom (my first Wacom tablet). I knew that it would take a while to learn and become familiar with, but to be honest, after the first hour or so of use I didn’t think it would be for me. As a professional photographer I need to be as quick as possible when editing. Because I was not using the tablet to draw with I thought it would slow me down while adding no real benefit. The main problem I was having was that I still needed to use the keyboard (the space bar to move my image around when zoomed in, working with brushes and dust spot removal, deleting control points, etc.) all the time. Moving my hand back and forth from the tablet to the keyboard seemed pointless and time consuming.   However, it didn’t take long for the tablet to start growing on me. After spending some time and learning a few tricks I started liking it more and more. For example, I learned that I could set the buttons on both the pen and the tablet to do whatever I wanted. So I set the lower button on the pen to be my space bar and the upper button as right click. This allowed me to zoom in and out and to move the image around the screen with one hand while editing. The other shortcut I used was to set the side buttons on the tablet for actions like Delete, Pick, and Option. This allowed me to preform almost everything that I would normally use the keyboard for without moving my hand from the Intuos5. Also, the wheel on the tablet allowed me to change the size of my brushes and spot removal tool, which is very handy. The more I used it and the more time I spent getting it set up the way I wanted it the more I realized it could not only speed editing up but actually completely change my workflow.     Having learned all the nuances of the tablet, I can now perform all of my precision editing tasks with one hand running the pen and the other the wheel, allowing me to quickly and seamlessly change my brush size as I’m working. This, combined with the extreme precision of the brush, means I can achieve more accurate results in less time. Tasks like dodging and burning trees that are outlined against the sky are incredibly easier to do with the Intuos5, compared with a mouse.     Perhaps one of the biggest advantages I’ve noticed is the ability to seamlessly change between using the pen and touching the tablet with your hand. For many things, like making changes to sliders and using brushes, the pen is a great tool. It gives you much more accuracy then a mouse. For other things, like scrolling though images, the touch method works much better. So being able to change back and forth by doing nothing but lifting the pen and dropping your fingers is great.     I also like the fact that I can use any number of fingers to accomplish tasks quickly. For example, three fingers works really well for adjusting sliders when not using the pen. Or you can use two fingers to scroll up and down through all of the controls on the left or right side, and then drop the third to adjust a slider without moving your hand.   Another great discovery is how much I enjoy holding the tablet on my lap and working from a distance.  This is where having the wireless option is an advantage. I spend so much time editing it is great to be able to lean back in my chair and get comfortable. Setting up the wireless was extremely easy and was ready to go in a matter of minutes. Battery life is not bad at all, and it is easy to plug in the USB to charge and keep on working when it dies.   After spending some time using and editing with the Intuos5 I am sold! With the ability to customize all of the buttons both on the pen and the tablet I can work much more quickly and with more ease and accuracy than with a mouse. And as I outlined above, for tasks like using the brush tool and removing dust spots it is amazing.   While I still use the mouse for everyday use I find myself using the tablet for all of my editing. It would be difficult to go back to using the mouse after being spoiled with the ease and accuracy of the Intuos5. To sum things up, the Intuos5 does take a little time to learn and get used to, and I still use my mouse for many tasks. So if you do decide to give one a try be prepared for a bit of a learning curve. That said, it is worth the effort, and it will end up saving you hours and hours in the long run.   Pro Team photographer Dan Ballard has an extensive portfolio of award winning landscape and travel images. His photos take you on a journey to some of the world's most beautiful and far reaching corners. Rich colors and compelling composition tell the story of each place he visits. Dan currently resides in Denver, Colorado where he is never far from breathtaking vistas to capture. show less

Beginning May 19 Mpix is offering free USPS shipping on all orders $15 and over. This special offer is good for all orders placed between May 19 and May 22 at 11:59 pm CDT. As with all sales and special offers there is no coupon code necessary to get the free shipping as long as the order is placed via your Zenfolio account.   The $15 minimum applies to your base prices and the free shipping option will appear during checkout. This special offer will automatically be applied to your clients if their orders exceed $15 of base lab cost. Only orders with a destination address in the United States are eligible for free USPS shipping. The is a limited time offer that expires May 22 at 11:59 pm CDT so be sure to place your orders soon. show less

Ready to hit the road to Chicago, Atlantic City, Los Angeles, and Las Vegas? Ok, here’s the deal. Our friends over at WPPI Online/Rangefinder Online are going On the Road with 2-day photography workshops featuring small group sessions and hands-on reviews of your online Zenfolio portfolio by industry experts. The workshops will be in: Chicago, May 20-21 Atlantic City, June 3-4 Los Angeles, July 15-15 Las Vegas, August 5-6 If you’re located in (or willing to travel to) any of these cities and want to attend we have 20 free passes available. Here’s what you need to do for your chance to win a free pass. In the comments section below, name an author or musician who includes “On the Road” in their music or writing. Title, lyrics, you name it. The first 20 to answer correctly will get a free pass. Good luck! PS-The Chicago event is this coming Monday, May 20 so act fast if you’d like to attend for free. show less

With digital media being the industry norm these days, many photographers choose to offer video services in addition to photography. Working with both videos and photos, photographers can offer a complete service to their clients. Videos are a great way to enhance your website and showcase your portfolio work in place of a traditional slideshow. Luckily, it is easy to upload and present videos within your Zenfolio account, just like you can with photo files. Check out the video tutorial below on how to upload videos to display within your site pages.  When delivering video files to your clients there is no need to ship a DVD or use a USB device. Your clients can conveniently download videos directly from a Zenfolio gallery. Take a look at the tutorial below to see how easy it is to set this up.  Want to take video delivery a step further? Why not sell videos files directly from your Zenfolio account? Similar to selling a digital image file, the Zenfolio system allows you to set this up easily with a seamless workflow. Watch the tutorial below for step-by-step instructions.  Similar to a well-designed slideshow, videos can add a dynamic and unique touch to your Home page.  Using a video as the centerpiece for the Home page in place of a slideshow can set you apart from the competition and show your work off in a creative way. With so many ways to use video files with your Zenfolio website, we hope you will dive in and take these features for a spin. To inspire you we recommend checking out the Home page for MindWorks Photography as well as InFocus Imagery. We love the creative approach they have taken using videos. See if using video can complement your website as well. show less

When you think about tools of the trade for a photographer you think of cameras, lenses, and lights. But does anyone think about insurance? While not as glamorous as a bag full of shiny new cameras and lenses, it is an important and, in many cases, a necessary part of doing business as a photographer. How many of you have your camera equipment covered by renters or homeowners insurance? This may not be nearly enough coverage for what you need. A typical homeowner's policy or renter’s policy will not cover professional use of your gear or have liability insurance for your business. Photographers who belong to professional organizations like ASMP, PPA, APA, or The Socities/SWPP in the UK have access to underwriters who specialize in photographic insurance. There are also a number of insurance companies that specialize in insurance for photographers, including Imaging Insurance in the UK and Hiscox, which serves the United States, the UK, and a number of other countries. What type of coverage do you need? This depends a lot on what type of photography you do. Do you have assistants or second shooters working for you? Do you have a studio, shoot on location, or use rental equipment often? These and many other factors will determine the type of coverage you need. I’m going to break down a few different parts of an insurance package that can make up a photographer’s insurance policy. It isn’t meant to be an exhaustive review of every contingency you should cover but rather a general guide to what is available. The exact type of policy you can get will vary depending on the insurance company, type of photography, and state or country you are in. Camera insurance Naturally, this is the first type you should consider. Before you get started, put together a list of all your equipment, serial numbers, and value or replacement value as your insurance company or broker will most likely require this information. In general, it’s a good idea to keep this information up to date and remember to add or remove equipment from the list as you buy or sell gear.   An Excel® spreadsheet is an easy way to keep track of all this info. In addition to the fields I mentioned above, I also include an extra column for the country of origin for all my gear. This way I can use it for reference for a Carnet (merchandise passport) or equipment list when I travel abroad. Speaking of travel, it’s also important to check that your equipment is insured when you are out of studio, home, or country. One place to start looking for quotes is TCP & Co. Insurance. They offer a number of coverage options that can be custom tailored to your specific needs. Liability insurance This is essential to protect yourself and your business against third party claims for damage to property, injury, and medical costs. For example, if someone trips over a camera bag at a wedding or a power cord for a light in your studio and injures themselves, or you break something valuable moving furniture or artwork around, you want to be covered. One to two million dollars of liability is a normal starting amount for this coverage. Keep in mind that some clients require that you have this coverage. Also, if you are a wedding or event photographer, some locations may require liability insurance as well. You also need this liability insurance to get a location permit if you are shooting somewhere that requires one. Usually the location or film office will require a Certificate of Insurance (COI) naming them as additionally insured to show that you are covered for liability. Often there is a small charge by your broker or insurance company to issue each certificate that you need. Both TCP & Co. Insurance (mentioned above), and Taylor & Taylor Associates offer this type of coverage. Computer equipment These days it’s possible to have a lot of valuable computer equipment that can be a large percentage of the equipment you need for your business. Fortunately, many insurance policies cover your computer equipment as well. Laptops will often have an additional premium, as these are the easiest to damage or have stolen. My policy covers me for computers and electronics that stay on the premises, and I have a separate list for items like laptops, iPads, etc. that covers me for use on location. The “on premises” and “off premises” lists have different maximum values of what can be covered. The “off premises” coverage is a lot lower, but ample enough for a couple of laptops and iPads. Again, TCP & Co. Insurance is a good option for this type of insurance. Errors & omissions liability ( AKA professional liability insurance ) Errors and omissions (E&O) is the insurance that covers you if a client holds you responsible for a shoot that did not come out as expected. In other words, this covers you for errors (or omissions) that you have made or that the client perceives you have made. Here’s a description of what this type of insurance is for from Tom C. Pickard & Co. Insurance. Their E&O coverage is available for an additional $250 a year: “Protects you against losses from copyright infringement, trademark, trade name, title, slogan, false advertising, idea misappropriation, invasion of privacy or publicity right, or defamation arising out of any photographic or digital visual imagery services.” Other extras Other insurance policy extras cover auto insurance and building insurance, which may be useful for some photographers. You can find these types of coverage from Taylor & Taylor Associates. Workers' compensation If you use assistants or second shooters you might need workers’ compensation even if you think these are independent contractors. The IRS has some rules to determine if the person you hire is a contractor or employee. Keep in mind that workers' compensation requirements may vary depending upon what state you live in. Rental equipment Are you covered for renting equipment? Do you just put the full cost of the rented equipment as a hold on your credit card? If you don’t have insurance for this and you rent a lot of equipment, paying the extra insurance each time can add up. If you do have rented camera equipment insurance, does it cover the replacement cost of what you are renting? While you think that you are going to be careful with gear that isn’t your own, unexpected accidents can happen, and they have happened to me. A few years ago I went to Tokyo to photograph some sumo wrestlers. I also planned to shoot a few other portraits while I was there. Renting equipment in Japan was quite difficult at the time. You couldn’t just rent a lens or lights without a guarantor or a letter of introduction. Plus, they didn’t take credit cards and you needed an active account with the rental agency. The easiest thing for me to do was to rent the lights I needed in the US and take them with me to Japan. No problem, apart from the cost for the extra bag on the plane. Fast forward a few days and I’m in Yoyogi Park near Harajuku shooting some Japanese rockabillies. It was a nice day. A little cloudy and humid but good enough to shoot outdoors with a background and a battery powered strobe. Unfortunately, I didn’t realize that it was the end of typhoon season, and a storm came out of nowhere. Within a couple of minutes I was soaked to the skin, and my lights, camera, and laptop were all wet. My afternoon shoot was literally a washout. I got back to my hotel and dried off all the equipment. My camera and laptop seemed ok, but I thought it would be smart to let the strobes dry off for another day or so since I didn’t need them quite yet. When I did switch the pack on and pop a few test flashes I was not expecting a large bang. Total disaster. After a call to Sweden and a trip to Profoto’s Japanese subsidiary’s repair facility, I found out I had destroyed the rental pack and it was beyond repair. My immediate concern was how to get more lights to shoot the sumo wrestlers later in the week – which is a whole other story. The point is that I had coverage for rented equipment. I could concentrate on the shoot at hand, and worry about my deductible when I got home. Since I had insurance coverage for rental equipment I didn’t have to stress out about how I was going to come up with full replacement value ($5,000 - $6,000) to replace the Profoto 7B I had just destroyed. An ounce of prevention equals a pound of protection So, as you can see, professional insurance for your photography business is something that you should seriously consider if you don’t have it already. Although we are all really careful with our gear, accidents do happen. Over the years I’ve spent as an assistant and photographer I’ve certainly seen and heard about broken cameras and lenses, damaged props, and wrecked rental cars.   To be sure you have the proper amount of coverage, review your current policy and make an updated list of all your gear. If you don’t currently have insurance visit one of the companies listed above to get an estimate of the cost for the coverage you need. Thankfully, professional insurance is a business expense so it should be tax deductible. Also, consider adding a small amount to your fees or products to offset the cost of having the insurance you really need. By having the proper insurance you can prevent a ruined shoot or piece of equipment from ruining you financially.   Jon Hope is an accomplished aerial and portrait photographer with an extensive portfolio of impressive images. Specializing in shooting from above, Jon's colorful and creative photos show what a unique perspective he brings to his work. From high end portraits to aerial cityscapes, his images always deliver. Check out John's online portfolio here: http://store.jonhope.com/   show less

Being a company that specializes in providing solutions, tools, and information for photographers we focus mainly on what happens behind the lens. This article, the second in an ongoing series, aims to broaden this horizon. Each article will have a unique, and somewhat whimsical, insight into an area of photography that you may have not considered before. We hope you enjoy them and welcome your comments. You can read the first article here. I come from a long line of famous photographers. In fact, it wouldn’t be a stretch to say that I come from photography royalty. Throughout the 20th century my family has worked with some of the most famous photographers in the world, capturing events that literally defined history. You might even say that were it not for us these photographers never would’ve gotten the photos that went on to become so well known globally. That might sound like boastful talk to you, but as they say in Texas: “That ain’t brag; that’s a fact.” The Beginnings My family line can be traced back to Germany in the early 1920s. My great-great grandfather actually was involved with photography as early as 1914, but it wasn’t until 1925 that he really took the world by storm. It was then that he produced the very first 35mm images. Prior to that, photographers would use big, clunky exposures that required cumbersome equipment that took a lot of time to set up. My great-great grandfather solved this by shrinking the image to the compact 35mm, which could be enlarged later from a negative. This in turn meant a more compact system that made it easier for photographers to transport and shoot on the go. From here on out when I’m referring to a member of my family I’ll just say “we”. That way I won’t confuse you with all my aunts and uncles, etc. For clarification purposes I will provide a family tree at the end if you’d like to see who worked where, and when. Now, having solved this issue of portability we began teaming up with forward-thinking photographers around the world. Unencumbered by the new, lighter equipment, they began going out into the streets and chronicling the world around them in real time. In this manner we revolutionized the way photographs were taken. This led to what can arguably be called modern photojournalism, as one of our earliest partnerships was with Henri Cartier-Bresson. 1930s-40s Taking to the streets of Paris, Henri Cartier-Bresson would merely look at what he wanted to photograph and we captured the image for him. We were, in effect, an extension of his eye. This also was a break from how photographers had worked before because for the first time we provided them a frame for what they would be photographing. As Cartier-Bresson’s fame rose, so did ours from our partnership with him. His close association with Robert Capa prompted him to start working with us as well. In 1937, we traveled with him to Spain to capture the horrors of the Spanish Civil War. It was during this trip that we helped him capture the image of the “Falling Soldier” which showcased the horror of that war. Unfortunately, our work during the Spanish Civil War was just the opening salvo. We spent the majority of the next decade traveling the globe, as the whole world convulsed with warfare, capturing images. Happily, the war ended in 1945, and again we were on hand to document history. This time, as jubilant crowds roared through Times Square in New York City we were working with Alfred Eisenstaedt, of Life magazine. Suddenly, right in the middle of the street, a sailor grabbed a nurse and we captured it. The Kiss, as it is now known, has gone on to become one of the most iconic images of the 20th century. Are you starting to believe me when I say that we’re photography royalty? In 1947, our longtime partners Capa and Cartier-Bresson joined with David “Chim” Seymour and George Rodger to form Magnum Photos. This was a watershed moment for us all because it enabled us to continue making fantastic photographs while documenting the world around us. Throughout the years, many now-famous photographers have joined Magnum and covered nearly every major milestone that has happened in the world since then. Our family’s collaboration with Magnum continues to this day. 1950s-60s Though World War II was over, there still was plenty around the world to keep us busy. When China began to unravel in civil war we traveled with Cartier-Bresson there to capture that event. Another family member went with Margaret Bourke-White to India to document Gandhi as he led the struggle against colonial rule. Our close relationship with him enabled us to take this photo of Gandhi spinning thread, just hours before his assassination. On a more positive note, back in Paris we were also working with famed street photographer Robert Doisneau. Much like Cartier-Bresson, we roamed the streets of Paris, capturing the lives and loves of the city. It was during one of these jaunts that we captured the image of  “Le Baiser de l’Hotel de Ville”(Kiss by the town hall). This is one of my favorite images of all time, and I’m so proud that a family member took it. The ‘60s were a time of great upheaval, with revolutions, movements, and change everywhere you turned. Fortunately, we always seemed to be in the right place at the right time to capture the moment forever on film. For instance, we were with Alberto Díaz Gutiérrez, better known as Alberto Korda, in 1960 when he captured the iconic image of Che Guevara. Titled “Guerrillero Heroico,” this photo has gone on to become both a symbol of youth in revolt and a pop art icon. Despite our gallivanting around the world, we were also very busy in the United States. Roaming the streets of New York City with Garry Winogrand, we captured the frenetic street life in motion via thousands of photographs, much like our forefathers did in Paris with Cartier-Bresson. Another family member was always with Bill Eppridge as he kept a visual chronicle of Robert Kennedy during the 1968 presidential campaign. Back then, candidates weren’t surrounded by the media and handlers like they are today, so we had exclusive access to Kennedy immediately after his speech in the Ambassador Hotel. Following along behind him as he walked through the kitchen we were witness to his terrible assassination. Fortunately, our work wasn’t always so grim. One of our favorite partnerships was with Jim Marshall, whom we began working with in 1959. Together we photographed the Beatles, Janis Joplin, Miles Davis, The Who and more musical greats of that time. Our photo of Jimi Hendrix burning his guitar at the Monterey Pops festival in 1967 and Johnny Cash flipping the bird in San Quentin prison perfectly embody the rebellious nature of music and culture at that time. The Family Tree As I mentioned earlier, it isn’t wrong to say that I come from photography royalty. If you want proof, here’s the family tree I promised to show you earlier. In addition to all the photographers mentioned above we’ve also worked with Annie Leibovitz, Ernest Hemingway, and Ilse Bing (known as Queen of the Leica, how’s that for royalty?), and many other famous photographers. Just as important, people around the world know that when you choose to work with us you’ll get the best photographs you can. Now that you and I are better acquainted, why don’t we go outside and take some photos together?     Peter Urbick has more than a decade of experience as a professional writer and manages all aspects of content for Zenfolio. In addition to being an amateur photographer he enjoys history and was inspired to write this story after looking through an old box of photos his grandfather had. Originally from Seattle, he wears his Evergreen State pride on his sleeve, much to the amusement of the rest of the office. show less

I admit it: I'm part of the horde. I, like every other photographer I've ever heard of, love getting new photo gear. New lenses, bags, even the little things like blissfully pristine screen covers are really exciting! However, having tried out a slew of new photo editing programs since college, I have to admit that new software usually feels a bit more like a test (the 'Can I Figure it Out Without My Brain Exploding?' test) than something straightforward enough to be fun. There's an amazing amount of things you can do to images digitally these days, and I've experienced my fair share of copycat editing environments and unintuitive controls. So, when the day came that I opened up DxO Optics Pro 8 (my new editing software), I will admit I had my very best skeptical face on. But, I was pleasantly surprised! To give a little backstory; my favorite ultra-wide lens can capture an incredibly large area (it's a 10-20 mm) so I love to use it to photograph big buildings and epic-looking scenery, skies, etc. But, I can't say I looked forward to correcting the inevitable distortion issues that crop up when using such a wide lens. A few lucky photographers might have access to a multistory building across the way, a handy-dandy 15' ladder, or a tilt-shift lens to correct perspective in-camera, but most often when I find myself in these situations unplanned, I have to instead tilt my lens upward. Now, while tilting the lens away from center may not be a big deal for 50 mm or telephoto lenses, the more my ultra-wide tilts, the more distorted the image perspective gets. This means straight lines keystone (tilt inward or outward), the visual distance between me and the subject starts looking VERY far away, and for some lenses, straight lines actually bend into curves along the outer edge of the frame. Plus, wide-angle lenses in general have a tendency to add extra vignetting on corners, which can darken the whole look of the image. Fortunately, with DxO, I discovered two things: 1) new software CAN be intuitive, and 2) these edits can be quick and painless! DxO corrected all of the issues with the images in this post, just by moving a couple of sliders. Full disclosure here: I'll be the first to admit that sometimes really messing with perspective and pushing the images to the extremes of distortion can yield some fun, artistic results! But, the average viewer usually prefers a more realistic-looking image that better matches what the eye sees. Same goes for preferring evenly bright images with lots of detail in both shadows and highlights. Optics Pro 8 is great because it helps bring images back to their original gloriousness in a couple of clicks and definitely doesn't take a gigantic, scary-looking user manual to figure out. The total editing process takes place in three tabs:     1.    Organize - select the folder of images on your computer that you want to edit (no importing necessary)     2.    Customize - where the editing magic happens!     3.    Process - select a file format etc. and save the finished edit After selecting my folder, the software checked for which lenses I used on the images, and auto-provided downloadable modules with correction presets for those specific lens profiles. Very handy for quick editing! Since I wanted to adjust the images manually, though, I clicked over to the Customize tab. The options here include some really powerful general editing adjustments, like white balance, a very cool feature called “Smart lighting,” and contrast. In my first image, a lot of things were going wrong, and not all were the fault of my lens. Despite being an 80 degree, beautiful summer day, the image looks cold, dark, and like it's entirely possible I was in the middle of falling backward when I snapped it. So my first step was to use the Smart Lighting feature, which simultaneously brightens shadows AND brings detail back into highlights. Then I correct the color balance to match how the warm afternoon rays had made the scene look in reality, and used the awesome “micro-contrast” slider to get back some details. Next up: fixing those tilted lines.   When it comes to wide angle lens correction, the most important tools I need are keystoning correction, distortion control, and vignetting adjustment. I did have trouble locating where the keystoning controls were initially, but a quick visit to their Getting Started help guide showed me how to switch out of the basic workspace called First Steps and into the advanced workspace. You can switch between the two at any time, or customize each workspace to include more (or fewer) options. In another image of some pretty epic clouds completely dwarfing the Golden Gate Bridge, I straightened the crooked horizon line, added some correction for pin-cushioning, and used the keystoning tool to fix the seriously skewed lines of the bridge. This automatically cropped out the outer portions of the image that extended out of frame as a result, while retaining the original aspect ratio. That last bit is a GREAT time saver, as programs like Photoshop require users to crop images manually after making similar lens corrections. One feature that's hard to miss when using this software is their before-and-after correction preview. Instead of having to hunt for a previous point in a history panel, or click on an eye check box to reveal the original image, you can check this just by clicking on the image itself in the central window. While you're still holding the button down, this shows the image “As shot.” As soon as you release, the customized image displays again. I really loved this and found myself previewing constantly, which helped prevent accidentally going overboard on any one adjustment. Plus, when you're using the keystoning tool, you have the option to use a side-by-side view of the image (pre-correction & post-correction), which updates in real time as you move the sliders. After that, a quick adjustment using the vignetting slider takes care of the darkened corners, and I was ready to move on to my next photo. Once all of the images were edited, I just clicked-and-dragged them into the Process panel, where DxO applied my preferred save settings, and saved the finished edits. In the end, correcting the images took all of about 2 minutes, and I'd have to say my skeptical face was replaced with what was probably a pretty satisfied-looking smirk. I passed the test! And in turn, DxO passed mine. ? Not only is Rebecca one of the awesome ZenMasters who helps Zenfolio users with their accounts on a daily basis, she is also a very talented photographer. Having grown up in West Africa and Montana, Rebecca is no stranger to breathtaking scenery. Her images, whether they are landscapes, interiors or portraits, showcase the subject in the best way possible. Take a look at her stunning images here: http://rebeccaherem.zenfolio.com/   show less

  An Interview with Mary Beth Koeth How did you get started as a photo assistant? When I started the photography program at Miami Ad School, I remember telling myself, “You need to start assisting as soon as possible.” But how do you assist without knowing the equipment? I was eager to learn but intimidated by the whole process. Everything was so new to me. I would ask the second year students if I could go to their shoots to sit in and observe. I’m pretty sure this is how I learned to use a reflector. Eventually, I started interning for a local photographer. I’d help him with his website, blogging, and social media, and even wax the floors in the studio on occasion. A few months in, he began hiring me on as a second assistant. Two years later, I still feel like an amateur. Why do you enjoy being an assistant? I enjoy assisting on jobs that don’t require octabank assembly and/or disassembly. One day I’ll hire someone to give me private lessons. Until then, I’ll leave it to the strong, man-handed folk. In all seriousness, even if you’re working with a photographer who shoots something completely different than what you shoot, there’s always something valuable to take away from the experience. The key is to be observant: watch, listen, and learn. See how the photographer interacts with the clients and how he or she communicates with the subjects. Pay attention to the light setup, the equipment being used, etc. If you’re open and observant, you’ll come out learning way more than any school or course can teach you. Is there an upside to working as an assistant or is it all drudgery? There’s an upside to everything. If you go into something thinking it’s going to suck, it’s going to suck. I love that I’m able to be on set with photographers that I admire, observe how they do what they do, and apply all of those lessons learned to my own work, in whatever capacity that might be. Do you have any horror stories you can share with us as cautionary tales? For some reason, I’m highly susceptible to accidents. I think it’s a tall girl thing. Put a cord in front of me, I’m going to trip over it. A near accident occurred a few months back that was totally unrelated to my tallness. I was lowering a light on a boom and it almost fell on a major film studio exec’s head. All eyes went straight to me. I don’t even know what happened after that -- I’ve been trying hard to forget that moment. Fortunately, I was in a room full of men and passed off any future lifting/lowering to them. That was a low point in my interning career. Have you worked with any noteworthy photographers who really impressed you? Ginny Dixon, my photo teacher at the Ad School, would always bring up names of different photographers during class. I’d jot them down in my notebook, go home straight away and look at their work. Joe Pugliese was one of the names that she threw out there. When I looked at his website, the first thing I thought was, wow, I need to learn from this man. I was fortunate to get to spend three months interning for him in LA. I think it’s important to work with people who are producing the quality of work that you aspire to. It’s both humbling and inspiring at the same time. Can you share any dirt with us on working with celebrity clients? It is very interesting being in the same room, observing everything that’s taking place. Every celebrity has his or her own groomer, hair & makeup artist, publicist, agent, BlackBerry-it’s a strange world. My Nokia and I just got a little glimpse of it from the sidelines. It's also pretty amazing how fast these photographers have to work. A lot of time is spent pre-lighting the set, but when the talent actually arrives, they might have a half an hour to shoot, if that. If you have one piece of advice you can give photographers on how to best work with their assistants, what would it be? Everyone has a different way of communicating. I’ve always worked well with photographers, and people in general, who are relatively calm and easygoing. When a photographer displays high standards as far as work ethic goes, the people who work alongside them will most likely be inspired to live up to that. Is there anything specific you have learned by assisting that you otherwise would not have? One of the things they don’t teach you in art school is the business side of photography. The majority of creatives I know are not business minded. We just want to create and not have to deal with self-promotion, invoicing, marketing, bidding, etc. At one point or another, this is something that you have to face if you want to pay the rent and eat. The people that I’ve worked with would always tell me, “It’s something you just pick up. You learn it because you have to learn it.” Between interning, assisting, and reading the ASMP Professional Business Practices in Photography, you really do just figure things out as you go along. Have you ever saved the day? Back in high school, I went on a few jobs with an editorial photographer in Dallas. I knew absolutely nothing about strobes/equipment, but I’d meet him at his studio and help him pack up and get ready for whatever he was shooting on a given day. He’d point to things and tell me whether to pack it or leave it. On one occasion, he told me to leave something, but I packed it anyway thinking, he’s going to want this. Sure enough, we got to the location, started setting up and he panicked and was thinking we left the soft box, or whatever it was. It was nice to be able to say, “No worries, we got it.” Never question your instincts. They’re usually right. Do you have any advice for people who want to start assisting? Well, first off, start lifting weights. Seriously. Second, always be aware of everything that’s going on around you. A lot of times, I’ll watch the photographer and try to think ahead of them. Pay attention to what he/she is doing and try to anticipate what they're going to need. Then when they make eye contact, you’ll already have whatever is needed in your hands ready to go. Thirdly, drink a lot of coffee and always be on. What resources are available to new assistants? There isn’t really any formal process to follow to become a photo assistant but there are a few resources out there to get you pointed in the right direction. The ASMP/American Society for Media Photographers has a Photo Assistant roster that they maintain for ASMP members. You can also check out A Photo Assistant, which is an informational blog on how to find assistant work and become registered with organizations in your area. No matter which course you take, good luck!   Mary Beth Koeth is a portrait photographer and video artist living and working in Miami, Florida. As a top photo assistant she has interned for some of the best shooters in the industry. Her dedication and hard work make her stand out in the industry as a person you can count on. Check out her impressive online portfolio and video works on her website. show less

Announcing the first ever really big exclusive print sale. From midnight 22 April -- 11:59 pm 25 April (all times PST) save 50% or more on prints when ordering via your Zenfolio account. When was the last time you were able to buy a pro quality 8x10 print for only $1? This sale is available worldwide exclusively through Zenfolio and includes rock-bottom prices from professional labs around the world including Mpix, Nulab, and One Vision Imaging. Prices vary by location (see details below) and include large prints in the following sizes: 8x10, 11x14, 16x20, and 20x30. Current Zenfolio customers, no coupon code is necessary for this sale, just login to your account and place your orders. If you do not have a Zenfolio account you can still order by starting a free trial with Zenfolio and then: 1. Upload your photos (no software download required) 2. Select the print sizes you want 3. Place your order We’re not sure when we will do another sale this big, so place your orders now. The sale ends at 11:59 pm on Thursday, April 25 (Pacific time). Also, please note that the base lab prices are the ones that are discounted. If you would like to offer this sale to your clients you can either create a percentage discount coupon for them to use and set the expiration date for when the sale ends, or you can manually change your prices in your price list.  The following sizes and prices are available for orders placed in the United States via Mpix:  Customers in Canada will enjoy these great prices from Mpix: Customers in the UK can order One Vision Imaging products in the following prices and sizes. For Europe, One Vision Imaging products will be priced in Euros, as follows: Australian and New Zealand customers can order through Nulab: The sale begins 22 April at midnight PST and ends 25 April at 11:59pm PST. Sale prices are for prints only (no canvas wraps, frames, or other special items) with the finishes indicated above. Sale prices apply to prints sized 8x10, 11x14, 16x20 and 20x30 only. Discount prices will be reflected once you place them in your cart for purchase. Offer only available to Zenfolio account holders and cannot be combined with any other offers.   show less

We’re happy to announce that the ZOOM tour is back! This year’s tour includes events in 11 cities across the United States and one in London, England. Each stop on the tour will include informative seminars tailored to photographers looking to maximize the power of the Internet to grow their photography business, plus presentations by industry experts on how to sell, brand, and market your work online. The first ZOOM tour hit the road in 2011 and was immensely popular. One attendee raved “I loved your presentations, they were really helpful in giving me ideas on how to get more out of my Zenfolio subscription”. This year’s tour will capitalize on the successes of our prior ZOOM tour, combined with new presentations and information.   Each stop of the tour will be a one-day event that consists of two sessions. The morning sessions will be for new and potential members and the afternoon sessions for existing members. Both will feature Zenmasters demonstrating all the features Zenfolio offers and answering questions about the service. There will also be industry professionals presenting on site design, order fulfillment, marketing, and more. Attendees will also have the opportunity to partake in breakout sessions that cover key areas of the photography business. Following the formal presentation portion of the event will be a question and answer session for you to ask any questions you may have from the presentations. Industry experts and special guest speakers at each event will also be there to provide you with the most comprehensive tools and information to help vault your online photography business ahead.   “I had a great time at the ZOOM event. I learned a lot. Initially I wasn’t sure what to expect, but came out with a task list that will make my website much more effective”-ZOOM attendee Reserve your place for the ZOOM event near you by registering soon. Registration costs $10 for the events in the US, which you will receive back to you as a $10 Mpix credit when you attend the event. Your registration also nets you a goodie bag with hundreds of dollars worth of gifts and discounts from sponsors. There will also be valuable prize giveaways at each event. We look forward to meeting you in person at an upcoming ZOOM event! show less