SmugMug Development Lab

Event photography seems simple enough: Your job is to take photos of a special occasion. Where it gets tricky is in reflecting the actual experience from the participant’s perspective, whether it’s a professional conference for business owners, a product launch cocktail hour, or a wedding’s late-night dance party. Of course, the basic lighting techniques still apply for every event—adjusting shutter speed, aperture, and ISO for correct exposure—but utilizing the advanced lighting techniques listed below can take your event photography from pretty good to print-worthy.

First things first: Do your research.

As part of your pre-shoot preparation, think about the vibe and location of the event itself, as well as who the participants are, then plan some shots accordingly. For example, formal events (trade shows, conferences, business meetings, speaking events) might require crisp, clean images that reflect the scene as accurately as possible, while more personal events (weddings, family reunions, cocktail parties) might allow for an artistic approach and more experimentation. Communicate with your client about their expectations, and how your photographic style and vision for the event will fit.

Identify potential ambient light sources.

The sun, windows, streetlights, tabletop candles, colorful strobes, a stage spotlight, lamps, sparklers, neon signs, and overhead lights can all be used on their own to create interesting exposures. Look up images of the venue and talk to the client about what ambient light sources there will be, and have an idea of how you might utilize each of them. 

One important advanced lighting technique is knowing how to balance artificial lighting with the ambient lighting of any given scene. For a sunset cocktail hour, you might use a soft flash to highlight people having a good time while preserving the rich colors of the sky in the background. A live concert might require direct flash on the lead singer to freeze her jumping in mid-air, but with a slow enough shutter speed to include stage lighting that highlights her bandmates.

Choose the right external flash—and know how to use it. 

There are countless options when it comes to supplemental lighting for event photography, but what’s most important is thinking through what the pace and location of the event will be, then picking out appropriate equipment for the event. Will you have an assistant to operate an off-camera flash, or are you on your own? Is the event fast-paced with unmissable moments, or is it a bit slower with more time to set shots up and play with lighting? 

In addition to those factors, make sure you have full mastery over whatever lighting equipment you’re using. Event photography is all about real people (not models!) experiencing one-of-a-kind moments, so you’ve gotta be ready and have all your settings dialed for those split-second opportunities.

Pro-tip: Once you have the external flashes, practice photographing friends in a space similar to the event so you are ready for the big day.

One advanced lighting technique for event photography is to utilize multiple external flashes to provide a key light and fill lights for specific exposures. Knowing how your flashes can work together to layer the light in a frame will take your imagery to the next level. Here are a few things to consider with artificial lighting:

• On-camera flash: No, we’re not talking about the built-in flash that comes permanently attached to your camera (which is practically useless). Instead, we’re talking about a speedlight that mounts to the hot shoe on top of your camera and has adjustable settings. These are portable and inexpensive, and they provide endless versatility for whatever lighting conditions you might encounter. If you’re trying to isolate a subject or create close-up images that make the viewer feel like they’re part of the scene, tilt the light down toward the subject for hard, direct light. To add a touch of fill light, point the flash in a higher direction for a softer look, keeping in mind that the light will bounce off whatever is nearby, like the ceiling, wall, or a mirror.
• Off-camera flash: These are speedlights, strobes, ring lights, or other artificial lighting equipment that are remotely triggered. If the event photography job includes head shots or professional portraits, consider setting up a small photobooth with a nice backdrop and pre-arranged lighting so you can grab subjects when they have a spare moment. This will ensure continuity and quality for the images, as well as peace of mind for you as the photographer. One advanced lighting idea for events that have a party-like atmosphere would be to set up a strobe to backlight a dance floor and capture interesting silhouettes of high-energy dance moves. (Think feet jumping, hair waving, and clothes swinging!)
• Flash modifiers: DIffusers, soft boxes, bounce cards, honeycombs, and color filters/gels add another layer of versatility to any lighting equipment you already have. Diffused light will provide a softer look that’s great for nostalgic, intimate, and romantic moments, while direct or hard light can provide a more dramatic look with bold shadows and enhanced texture. Adding a color gel to your flash can create warm or cool tones, depending on what type of mood you’re going for.

Be creative and think outside the box.

With event photography, you have the benefit of being present for a special time in a person’s life—after all, it’s an event that stands out so much from daily life it warrants hiring a photographer! You’re there to document the people, the place, and the moments in a cohesive way that reflects the feeling, meaning, and importance of it all, beyond simply taking photos. Event photography is a great example of the whole being greater than the sum of its parts. Great event photography captures the essence of the experience, not just the facts.

Here are a few last ideas to try: silhouetting people against a bright background (look for interesting body positions), using a slow shutter speed for motion blur in the background with a flash to freeze the action of the subject, and painting with light (slow shutter speed + moving light source) to highlight a place setting or write something meaningful (like a wedding date + the couple’s initials). Be creative and think outside the box for how you can use advanced lighting techniques, and you’ll create images your event photography clients will cherish for years to come.

If you’re looking to capture eerie images with ghostly figures, then ghost photography is for you!  Photographers and hobbyists have been creating spirit photos since the mid-1800s, with their popularity increasing after the civil war. 

Many people believed that these photos captured the spirits of their dead relatives. Americans grieving the loss of a loved one paid a high price for the chance to be photographed and see if their dearly departed would show themselves in the photo. Flash forward a couple hundred years and ghost photography is still an in-demand and fun artform to master.

We’ll show you step-by-step how to capture photos that appear other-worldly without expensive equipment. But first, what exactly is ghost photography?

What is ghost photography?

Ghost photography, also known as spirit photography, is capturing photos with images of ghosts or spirits which can appear as human forms, orbs of light, auras (like kirlian photography), and using camera settings like low shutter speeds, wide aperture, and low ISO to create fun and spooky effects in-camera.

This genre of photography has been around for hundreds of years and that gives it a rich history. The most well-known spirit photographer and the man credited with the genre’s origin is William Mumler .His photos earned him fame across the country as he “captured” the ghost of Abraham Lincoln which was so believable that even his widow Mary Todd Lincoln came to William to be photographed.

The resulting image of Mary Todd with President Lincoln standing behind her is one of the most famous spirit photographs ever taken. So how did he do it? While his exact method has never been proven, the most likely method is a double exposure. 

Other famous ghost photographs include an 1800’s image that appears to have Henry VIII’s fifth wife Catherine Howard in it, The Brown Lady of Raynham Hall from 1936, the Spirit of the Terrier from 1939 showing a large dog’s faithful terrier friend that died hovering over it, and the Tulip Staircase Ghost from 1966.

With the popularity of horror movies and TV shows, people flock to filming locations and historic landmarks to recreate scenes and try to capture spirits. And why not? It’s a fun way to practice your photography skills while learning local and national history. So let's learn how to do ghost photography. 

How to create ghosts in photos.

You cannot guarantee a spirit will show up for a photoshoot, but you can create ghost photos with a bit of creativity and planning.  First is the right camera gear.  To do ghost photography you’ll need a:

• Camera capable of shooting in manual mode
• Lens that can also operate in manual mode
• Flash
• Sturdy tripod

Once you have your equipment ready, it’s time to have some fun! 

There are three main types of ghost photographs:

• Orbs and specks.
• Haunted buildings and landscapes.
• Ghostly apparitions of humans and animals.

Here’s how to capture each one, step by step.

Orbs and specks.

Lots of times the ghosts in photos appear as bright balls of light known as orbs or backscatters. These are mainly particles of dust that aren’t seen by the naked eye but reflect the light of the camera flash.

Here’s how you can create these fun ghostly images:.

1. Position your tripod where you want it and lock focus on the subject. Set up your exposure based on the conditions that you’re shooting in. Here are some basic settings to help you get started.
   1. Shutter speeds of 8 to 10 seconds
   2. ISO around 400
   3. Dim lighting works great, or shooting just past Golden Hour or Blue Hour if you’re outside
2. Take a few test shots to make sure that your photo is exposed and composed the way you want.
3. Just before shooting, walk around within the frame and try to kick up a little bit of dust, and bring your own if you will be somewhere without. Just make sure to clean it up after.  Let it settle for a few seconds in the air, then go to your tripod and take a shot with the flash on.
4. The flash should reflect on some of the particles still hanging in the air creating a photo similar to the one below.

Haunted buildings and architecture.

Historic buildings are prime places to stage spooky shoots, and there are LOTS of ways to dial up the ghostly vibes.

Start with the same settings as above, but consider adding your own elements to the scene, like out-of-place paintings or objects. Invite a friend to wander through the frame during exposure to capture their ghostly image. You can even bring additional light sources to add strange visual phenomena to your shot.

Another method is to use dry ice or anything that emits vapor to create a ghostly mist in your photo, like the one below. Position the dry ice by a window, on the roof, or somewhere where the wind can blow it across the area you’re photographing.

How to make ghostly apparitions.

For photos that appear to have a full-body apparition, you’ll use the same equipment as above minus the flash, and you’ll be shooting with long exposures.

1. Position your tripod where you want it and lock focus on the subject. 
2. Set up your exposure based on the conditions that you’re shooting in and take a few test shots to make sure that your photo is exposed and composed the way you want.
   1. Keep notes of how long you’re exposing the shots so you can recreate and know how to adjust settings if you need to return and reshoot.
3. Position your model and have them hold still at first.
4. Next have the model move out of the frame after a few seconds. some text
   1. A good rule of thumb is to have the model stay in the frame for ⅓ to ½ of the amount of time of the exposure. For example, if you’re exposing the shot for 10 seconds, the model would move after 3 to 5 seconds. The longer they’re in the frame, the more pronounced the figure will be.
5. Try repeating the same shot but have them move a second earlier or a couple seconds later.
6. Review each photo and decide which is creating the best effect, and what you can make work during processing.

Experiment with different exposure times and see what other effects you can create.

That’s it! Now you know how to create your own ghostly images and master the art of ghost photography. So if you’ve been stuck in a rut or just want to try something new, give ghost photography a shot.

Renowned photographer Henri Cartier-Bresson once said your first 10,000 pictures are your worst, but we gathered a few tips from pro photographers to make the journey to honing your craft a little quicker.

Here are the top tips from pro photographers:

1. Leave it to f/8.

Without delving into details about optics and light paths, your lens has a sharpest point within its aperture range. The largest and smallest ends of that range are the softest, and f/8—which is in the middle—is where you’ll most often get the sharpest images. This does vary by lens, so we recommend shooting some test shots to find your lens’ sweet spot. Once you’ve got that dialed in, experiment at different apertures to see how each f-stop affects your image.

‍

2. When in doubt, crop it.

In the world of photography, you have probably heard a lot about getting the image right straight out of camera, or SOOC. And there’s wisdom to that thinking. You don’t want to “fix it in post” if you can save yourself time by getting the shot right in-frame. But cropping your photo after the fact to create a better, stronger composition is a quick and easy way to improve an image after it’s taken.  

Maybe there was a fence in your way that prevented you from getting closer to the shot, or perhaps you were capturing a split-second street shot and didn’t have time to change your lens. Either way, it’s your artistic decision to improve a composition with a little post-process cropping. And unless you tell someone you cropped, no one will ever know! Consider it a trade secret.

Pro Tip: You don’t have to crop your photos before you upload them to SmugMug. Use built-in photo tools to crop your images, or copy a photo and crop the copy so you can compare it to the original and see which you like best.

‍

3. Take gear for a test drive.

You don’t have to own the gear to shoot with the gear. Can’t afford to drop $16K on an 800mm lens to shoot the next game? No problem: pay a pittance to rent one for the time you need, then send it back and call it a job well done. This is also a great way to test out new gear you might be considering for your full-time kit. Not sure if that 85mm f/1.2 is worth the extra dough? Rent it and try it out. A small upfront investment can save you a big financial headache down the line.

‍

4. Polish in post production.

While getting photos right SOOC (straight out of the camera) is good practice, it’s rare that a photo looks better unedited than edited. Even a perfectly-lit, powerfully-composed photo can benefit from a few finishing tweaks to the white balance and saturation to make it pop—especially if you shoot in RAW. Think that sunset shot couldn’t get any better? Give it a boost in post and see what happens. 

Pro Tip: You’ve got color effects available in SmugMug's photo tools. Or you can take your editing a step further with Lightroom and publish the results directly to SmugMug without ever leaving the program.

‍

5. It's okay to make mistakes.

Backlit subject? High-contrast sunset? White dress, red wall? These scenarios (and countless more) can throw a wrench into your shoot, but you can still capture the photos you want with practice. Study hard, stay inspired, experiment, and make mistakes—lots of mistakes. Then learn how to fix them. Try using a fill light for that backlit subject. Experiment with a neutral-density filter during that sunset. Move your model or your lights farther away from that red wall. Discovering what doesn’t work will help you learn what does work, and will result in better photos—and technique—in the future.

Pro Tip: You’re not alone! Chances are another photographer out there has run into the same challenge you have. If you’re struggling to find a solution, don’t hesitate to consult the Internet for answers. SmugMug also has some great resources in the Development Lab.

Tim Miller's journey into the world of wedding and dance photography began with a high-school class. Little did he know that class would set him on a path to becoming one of the premier photographers in the eastern Pennsylvania region and one of the highest-selling pros on SmugMug. But like many success stories, his journey was far from linear. 

We had a chance to chat with him about what makes his photography business so successful, and how SmugMug helps contribute to that success.

1. Branding matters. 

In the early 1990s, Tim noticed a lack of creativity and spontaneity in wedding photography. Determined to change the game, he and his wife, Liz, began experimenting with a new approach: focusing on the candid moments that truly reflected the emotions of each wedding day.

This "Your Day, Your Way" concept resonated with couples seeking a personalized and authentic wedding experience. Soon, Tim and Liz were booked solid, photographing weddings all over the region. But Tim didn't stop there. 

After sparking up a conversation with a wedding DJ who also worked in a dance studio, he ventured into dance photography. "I created a separate site and named it ArtOfDance.Photo after a big dance studio in Easton told me they would've hired me three years earlier if I had dance photos on my original site," Tim said. 

Using SmugMug’s variety of customization options made it easy to brand each site separately, making them unique enough to avoid confusion among his clients.

His journey from Tim Miller Photography to ArtofDance.Photo underscores the importance of strategic branding. Learn from his experience and make sure your brand reflects the specific niche or audience you serve.

‍

2. Know your audience. 

"My advice is do your own thing and solve problems for your clients," Tim said. And his approach has paid dividends, with his business flourishing even amid the pandemic.

His decision to split his photography ventures based on client preferences also highlights the significance of understanding your audience. Whether it's weddings or dance photography, catering to the distinct needs of your clients can set you apart in a competitive market.

"Brides don't want to see dancers, and dancers don't need to see brides," he said. But it wasn't just about differentiation; it was also about scalability and brand longevity. 

3. Plan for growth. 

"You don't want to name your business after yourself," Tim recalled, echoing the advice of a fellow photographer. If the business grows enough that you can sell it, people will always wonder who and where the named photographer is. Tim’s friend later lamented he would’ve been able to sell his own studio for more profit if he had known this tip himself.

Once you’ve chosen your name, think about getting a custom domain and logo to fully brand your business. Also monitor your growth easily with SmugMug stats and sales reports as well as third-party analytics.

4. Timing is key. 

Tim's knack for identifying and addressing industry frustrations didn't stop with weddings. He saw an opportunity to revolutionize the timing of dance-company photoshoots, shifting them from the bustling spring season to quieter winter months. This not only alleviated financial strain on parents but also ensured a steady stream of income for Tim during the offseason. 

Tim’s strategic shift in photoshoot scheduling demonstrates the importance of timing in maximizing sales while easing the financial burden on clients.

5. Problem-solving = success. 

He also changed how studios could approach their photo days to make them less disruptive and more customer-friendly. During his pivotal conversation with the wedding DJ/dance studio assistant, she explained why picture day was difficult: time had to be set aside to pose all the kids and to collect prepayments for packages—which might include photos the parents didn’t even want. 

After listening to her woes, Tim had an idea: “What if we took photos during class instead of on a separate day? And instead of making parents prepay for photos, what if I posted the photos online for them to choose from?" And so began a new chapter.

Tim's entrepreneurial ethos centers around solving problems for his clients. Embrace this mind-set and offer innovative solutions to problems in your industry that satisfy your customers and give your business a boost at the same time.

6. Leverage technology. 

Also central to Tim's success was his partnership with SmugMug—the “answer to everything," he said, emphasizing its indispensable role in streamlining his workflow and facilitating seamless transactions. The platform's robust features, coupled with exemplary customer service, have been instrumental in his ability to deliver exceptional experiences to his clients. “The superfast delivery of digital images is a strong selling point for me,” Tim said.

Partnering with platforms like SmugMug can simplify your workflow and enhance your customers’ experience. 

7. Customer relationships are key. 

Tim's dedication to excellence extends beyond business transactions; it's ingrained in every interaction he has with his clients. "I love what I do, and I don’t take myself seriously," he remarked. His success is rooted in the bonds he's built with his clients over the years. “People remember how you make them feel.”

Cultivate genuine connections with your clients by prioritizing their needs and delivering exceptional experiences. 

8. Stay approachable. 

A lighthearted approach can go a long way in building rapport. "I just love to have fun with my clients," Tim said. His down-to-earth demeanor and humorous anecdotes create a welcoming environment that fosters trust and loyalty.

9. Continue learning. 

A couple years into his dance-photography journey, a studio owner challenged Tim by asking, "Why do we take the same boring pictures? Why don't we capture leaps or something?" Instead of shying away from this knowledge gap, he approached the question with one of his own: “How would I do that?" The studio owner responded by borrowing his camera, giving the dancer a countdown, and snapping the photo with one shot. 

From there he discovered his studio strobes couldn't stop action, so he invested in better lighting. And he continued to learn the timing of leaps. “That's what changed me as a photographer, and when sales started going through the roof,” Tim said.

Embrace a growth mind-set and remain open to learning from both successes and failures. Tim's willingness to adapt and evolve has been instrumental in his journey as a photography entrepreneur.

10. Efficiency is essential. 

On the day of a photo shoot, Tim hands out letters to parents that explain how SmugMug works and hangs QR codes around the studio. These codes, generated on SmugMug, take parents directly to the photos’ online gallery when scanned. “I’ve already seen an increase in early sales with the QR codes,” he said.

“Also key to what I do is fast turnaround,” Tim said. “I use only three things for post-production: ACDsee for viewing and numbering the photos, Lightroom to edit the photos, and SmugMug to display and sell the images.” This allows him to edit and upload 12,000 studio images in three hours or less. 

Tim's efficient approach to post-production and client communication allows him to handle high volume with ease while maintaining quality. Streamline your workflow and optimize your processes to maximize productivity. 

----------------------------------

By incorporating these insights into your photography business, you can carve out your own niche in the industry. Remember, it's not just about taking photos—it's about building relationships, solving problems, and delivering outstanding experiences that keep clients coming back for more.

Ever found yourself scrolling through social media, seeing one too many selfies? We've all been there. But have you ever thought of turning everyday selfies into creative self-portraits? A rainy day or a lull between shoots can become an opportunity to refine your photography skills, and perhaps discover a new form of creative expression. Who better to be your subject than the most cooperative model you know—yourself? To help kick-start your journey, we’ve put together ten tips.

1. Choose the right background.

When starting your self-portrait journey, keep it simple. Opt for a blank wall in your home or a simple textured background outdoors, like a brick wall. This allows you to be the focal point of your composition, emphasizing your personality and style.

2. Practice lighting.

Sticking to simplicity, start with natural light so you can focus on composition, posing, focus, and everything else. Try standing near a window during golden hour or finding some open shade outdoors for easy and flattering portrait lighting. These both create soft shadows and bright catchlights in the eyes while avoiding dark under-eye circles: instant beauty filters.

As you advance, try experimenting with advanced lighting setups and techniques such as two-point lighting or a background separation light. Try playing with homemade grids, gels and white balance settings, short and broad lighting, and anything else you’re curious about. See if you can reverse engineer the lights in portraits you admire!

3. Nail the focus.

While autofocus is a handy assistant, you might not want to shoot at a higher aperture like f/8 to ensure it nails focus on your eyes. If you want to create a dreamy effect with a shallow depth of field, how do you keep the focus from landing on your ear by accident?

1. Try setting up your camera and tripod to frame your shot in advance and adjust your camera's focal point to where you think your eyes will fall in the frame. 
2. Take your camera, leaving the tripod in place, and step into the frame. 
3. Point your camera back at the tripod and use your previously set focal point to focus on the tripod head. 
4. Once your camera focuses, carefully switch it to manual focus and place it back on the tripod. 
5. Take a few test shots with yourself in the frame and adjust until you’re happy with the focus.

4. Master your gear.

No remote trigger? No problem! Use your phone or camera's built-in self-timer as a convenient alternative. Start with 30 seconds so you don’t feel rushed running from camera into frame, and you’ll have plenty of time to set your pose. If you get tired of the extra cardio, consider the array of remote triggers available in the market—even for smartphones!

If you don’t have a tripod, use a table, a counter, a stack of books—anything that’s stable and level.

5. Select the right lens.

Choosing the right lens is crucial for achieving your desired composition. Wide-angle lenses help in confined spaces while shorter focal lengths, like 50mm or 85mm, work wonders for close-up portraits. If you have the space, longer telephoto lenses can help separate you from your background 

6. Plan and pose.

Visualize the outcome, research and experiment with poses, and let your self-portraits tell your story. Capture natural, relaxed expressions with the help of music, memories, and a few tricks of the trade. Try jutting your chin forward a bit without moving your neck for a more flattering jawline. If you have a habit of clenching your jaw, press your tongue to the roof of your mouth to relax it.

7. Shoot and review.

Instead of immediately checking a shot after each click, resist the temptation and go for comprehensive reviews after a series of shots. Adjust your posing based on the collective story told by your images and on what you like or dislike. Checking each shot can get in the way of the kind of spontaneity that makes portraiture great.

8. Introduce creativity.

Go beyond the basics by introducing costumes, props, smoke bombs, and diverse environments into your self-portraits. Tell compelling stories through your images, injecting a dose of creativity into each frame.

9. Embrace editing.

Don't shy away from the editing room. This is a chance to try those filters and actions that look amazing but might not work for your clients. Explore the art of compositing to enhance your portraits further, seamlessly blending elements to craft the story you want to tell. If you shot outside during a sunny day, for example, but wanted a moody portrait, try replacing the sky with a darker one filled with storm clouds. Or if you’re missing that perfect prop to tie everything together, find a stock photo of it online and edit into your image to complete the story.

10. Learn from the best.

Hungry for more? Dive into self-portraiture with insights from SmugMug pros and Ambassadors, and exclusive SmugMug perks (make sure you’re logged in to your account for perks). Explore the nature of self-portrait art with Lizzy Gadd, learn compositing from Renee Robyn, and unlock discounts on resources to fuel your creative journey.

_______

Remember, the art of self-portraiture is where you tell your story—unique, personal, and undeniably you. We hope these tips help you capture the essence of your one-of-a-kind self. Happy shooting!

When natural light won’t work or isn’t enough, strobe lighting can be your saving grace. Here’s your official guide to strobe photography.

Strobe lighting can help take your photos to the next level by giving you perfectly lit photos every time. There are so many ways to use them, from portraits to underwater photography. Of course, natural light will always be king, but sometimes natural light needs a little help.

For instance, you may want a more dramatic outdoor shot with a well-lit subject, vibrant colors, and dark background, or you may do a lot of portrait or studio photography.

If so, strobe lighting may be a worthwhile investment as opposed to using only an on-camera flash or flashgun.

What’s the difference between strobes and speedlights?

Strobe lights, also known as monolights, are extremely bright and emit rapid bursts of light.

Strobes and speedlights are similar in that they both emit short bursts of light, and both need low shutter speeds. A speedlight, also known as a hot-shoe flash or flashgun, can be used as an on-camera flash or off-camera lighting.

Strobes are strictly for off-camera use and are more powerful than speedlights. They also have a faster recycle rate. You may need a few seconds in between shots for a speedlight to recycle, while a strobe will recycle and be ready to go again almost instantly.

Speedlights are more compact and portable, while strobes are larger and mostly used for studio shoots.

Types of bulbs.

LED lights, halogen lights, and xenon flash lamps are all used for strobe lighting. Depending on the kit you buy, they can range from 100 to 1,000 watts. When purchasing a strobe kit, you may want to look for one with adjustable output. This will allow you to turn the light intensity down when doing close-ups and use more power when your subject is farther away.

Using strobes outdoors.

One of the many benefits of strobe lighting is that it’s powerful enough to overpower the sun, yielding some unique effects. Using a strobe outdoors will highlight your subject against the background and give you a powerful and vibrant shot.

Taking a photo with strobes.

If you’ve never used strobes before, you’ll be happy to know they’re beginner friendly. All that’s needed are a few setting adjustments, and you’re good to go.

1. Set your camera to manual mode. From there, adjust your aperture, shutter speed, and ISO (otherwise known as the exposure triangle).
2. To start, adjust the shutter speed to 1/125, or whatever your camera’s flash sync speed is. If you’re not sure, check your manual or just go with 1/125, which should work for most cameras.
3. Next, adjust the aperture to give the desired depth of field and control how much ambient light (versus strobed light) your camera will capture. If you’re not sure where to start, try f/8 and go from there.
4. As for the ISO, since you’re going to be using a strobe, it’s best to keep it low. The strobe is bright; if the ISO is too high, you may get a photo where the colors are off, and it may have too much noise. An ISO between 100 and 200 will do.
5. Once the camera is set, it’s time to get the strobe ready. You’ll need either a wireless trigger for the strobe, or it can be connected to the camera with a sync cable. Note, for the cable to work, the camera needs to have a sync port.
6. The final step is to start shooting! You’ll have to adjust the strobe’s power, and there are two ways to figure out how much is enough. You can invest in a light meter, or you can take a couple of test shots to see if you need more light or less. The farther your light is from your subject, the more powerful it will need to be. Don’t be afraid to play around with where you place your strobe.

Stroboscopic portraits.

Once you’re comfortable working with a strobe, you can unleash your creativity and start taking stroboscopic portraits. This unique photography style uses strobe lighting combined with long exposure to create stop-motion pictures. All you need is a strobe that allows you to adjust the number of flashes and the frequency. Set off the strobe a number of times during a single long exposure while your subject moves. Experiment for some fun and interesting effects!

We hope you’re encouraged to add strobes to your next shoot if you haven’t tried them already. They’re fast, powerful, and are sure to enhance your photos.

----------------------------

Have you worked with strobe lighting before? Let us know your thoughts in the comments below, or start a conversation on X, Instagram, and Facebook.

The first moment we saw Corrie White's incredible macro images, we were floored. Corrie taught herself how to photograph these teeny, fleeting sculptures and found so much success she wrote an ebook teaching others how to do the same. We asked her a few behind-the-scenes questions about her experience in a small, small world. 

What inspired you to start capturing liquid drops? 

Years ago, I stumbled upon the Liquid Sculptures of Martin Waugh. I was fascinated with them and kept going back to marvel at his beautiful works. In early 2009, I had some free time and decided to give these a try for myself. I found I had a knack for doing these manually, and the rest is history. I’ve always had a love for macro photography and started with a Sony DSC-H1 point-and-shoot camera many years ago. I found this very limiting and got an entry-level DSLR. In 2008, I acquired a Canon EF f/2.8 100mm macro lens, which was essential for my water-drop photography. 

How much experience did you have with strobes before you started photographing droplets?

I had never used any external flashes before I did water-drop photography. Indeed, for the first half year I used my camera pop-up flash for my water drops. I knew nothing about flash-exposure compensation and soon learned why I was getting those cool—but annoying—light trails on my drops.

How exciting was it to discover the three-drop splash—a new drop structure? Will it be named in your honor?

I was so ecstatic when I saw the three-drop splash appear on my little screen. I did a little dance! Something entirely new that had never been done before. I was very excited. Will it be named in my honor? I can't say, but I really don't think so. Martin Waugh has the distinction of taking water drops to a new level with his two-drop collisions. I personally think anything after this is secondary. What you see currently in the water-drop world are extensions of his creations. I'm just happy to have discovered some new shapes in a world where it's hard to come up with something totally unique.

What type of publications and sites tend to purchase your work?

The interest in my water-drop art is very diverse, anywhere from photography magazines to children's magazines. There’s a lot of interest from the science world, especially in the field of fluid dynamics. One of the most memorable compliments came from a professor at MIT, who said they brought a tear of joy to his eye and shared the work with his students.

Have you ever been commissioned to shoot a specific drop image?

Not for any monetary value. I’ve been asked to do certain abstract images, but they’re very difficult, especially when I need equipment I don't have available to me. Right now I’m trying to find time to create an Amanita mushroom, which will be a difficult but fun project. I much prefer to work in an uncontrolled atmosphere with colors and shapes that I like.

What kind of droplet images are on the horizon for you to try? 

I really don't know what the future holds for me with respect to my water drops. Is there more undiscovered territory with them? I’ll certainly see what's possible and test the limits. I may try multiple valves, but that’s becoming commonplace and I prefer to find the unique. The possibilities are endless, and I would like to find more surprises in the liquids.

Say someone had only $200 to invest into trying this kind of photography. How would you recommend they use it?

I always suggest that before people go out and spend lots of money on electronics, first try out a manual setup to see if you like this type of photography. You only need to spend a small amount of cash on a flow regulator from an aquarium supply store, or an IV-drip contraption, to start out. Use your DSLR with manual controls, a regular lens with zoom, your pop-up flash, and see if this is what you want before you take it to the next level. It's a great hobby, especially in the cold winter months. Be careful, though—you can get hooked!

Buying a macro lens is a good investment if you like macro photography in general. Buying an electronic timing device can be useful for much more than water-drop photography. I’m familiar with Mumford's Time Machine: it will do time-lapse photography, ballistics, and many other types of photography. I would like to do some time-lapse experiments in the near future.

What have you learned from droplet photography?

I’ve learned that within each of us is a creative spirit. I’ve found mine in liquid-art photography. It’s an exhilarating, relaxing, and very rewarding experience. I find great satisfaction that so many people have been inspired by my water-drop work and the techniques I use. They’ve expressed gratitude that I’ve shared my experiences with them and, although some say I should keep some of my methods secret, I find the opposite to be a richer experience. "Imitation is the sincerest form of flattery" rings true for me, and I’m honored to see others experimenting with my methods.

It's that time of year when folks fire up the oven and start whipping, baking, simmering, and roasting. With all those great things coming out of the kitchen, you're going to want to share every delicious morsel with friends, fans, and family who can't personally make it to dinner.

Here's how you can take delicious, reach-through-the-screen-good photos of your cooking using any camera—even your smartphone.

Savor the main course.

Your culinary creation is the star, so let it shine! Crop out the non-essentials cluttering your scene—say goodbye to salt and pepper shakers, spare chairs, and the eager anticipation of hungry guests waiting for you to wrap up the photoshoot.

If you can’t physically remove a distracting object, play the angles game. Capture your dish from every perspective imaginable—get low, go head-on, and even shoot from directly above. By exploring various angles, you'll discover the perfect viewpoint that makes your dish the undisputed hero of the frame, ready to tantalize taste buds through the screen.

Let there be (soft) light.

Position your food near a window and let the natural illumination work its magic. Natural light is your secret ingredient to showcasing your latest culinary triumph.

If you're shooting during the morning, embrace the cooler tones, but any soft, bright light from the side is a win. Consider overexposing a tad to let those delicious details bask in the limelight.

For those early-winter evenings when darkness descends with dinner, bounce your flash off the ceiling or a nearby wall to create an even spread of light. When executed with finesse, this technique mimics the serene glow of a perfect spring morning, bringing warmth to even the darkest winter nights.

Snap before you savor.

Capture the essence of your culinary creation before you dive in, leaving fingers and utensils out of the frame. You're orchestrating a moment of delicious anticipation, so why spoil the fantasy with teeth marks and someone else's hands?

Exceptions exist, of course. When documenting the step-by-step cooking process or showcasing the joyous atmosphere of your guests enjoying the feast, feel free to bend the rules. Just remember, for that initial, mouthwatering reveal, keep it clean, crisp, and hands-free.

Revel in the details. 

Bring your dish to the forefront by getting up close and personal. Fill the frame and let the textures take center stage. There's nothing sadder than a small, blurry burger lost amid the expanse of a huge table. Your food deserves to be larger than life, just like the moment before that first bite. So get as close as your lens allows and capture every savory detail.

To accentuate this, play with a shallow depth of field. Nail the focus for crystal-clear details or elevate the ambiance by enhancing the bokeh during post-processing, giving your food the attention it truly deserves.

Add a splash of color.

Elevate your food photography by embracing a spectrum of colors. Say yes to vibrant berries, lively herbs, and a parade of ingredients that add a burst of brightness to every corner of your shot. With a harvest of bold, beautiful choices like pomegranates, persimmons, currants, and squash, you have a palette of options to make your plates shine.

Don't forget to give your favorite dinnerware its moment in the spotlight, too. Whether serving as a neutral backdrop or injecting extra visual interest into the scene, the good china is ready to complement your scrumptious meals.

Bonus: Share the love with recipe cards.

Why hoard the culinary magic? After capturing your favorite creations in photos, take it a step further and turn them into recipe cards printed on our user-friendly 5x7 card templates. You can find blank templates in the Other Occasions category in Greeting Cards.

Spread the joy by slipping these gems into your annual holiday mailings or attaching them to the ribbon of every present you give. Recipes are the gift that keeps on giving—a personalized touch that warms hearts and tantalizes taste buds.

_______

Happy shooting! Here's to capturing delicious moments and spreading the joy of fabulous food photography this holiday season.

Bella Kotak’s fascination for capturing moments began while she was young. Influenced by her father who brought a camera with him everywhere, she inherited the habit and became known for it among her friends. This obsession for capturing moments eventually led to creating her own—and she found herself shaping worlds, stories, and characters around the moments to help evoke the moods she wanted her images to convey.

SmugMug had a chance to peek behind the veil of Bella’s fantasy worlds and learn a bit about the magic she creates in front of the lens. Discover more of what captures her imagination in our latest SmugMug Film below, and read on for a few of her tips about creating a little magic of your own.

Tip #1: Try everything once to learn what you like—and what you don’t.‍

Whenever you’re starting out with something, give everything about it a shot. That was my own approach with photography. I was vaguely interested in it, so I tried photographing families, portraits, pets, weddings, and a bunch of other things. Unless you try it, you won’t know if you like it or not. The more I tried, the more I could rule out what didn’t bring me joy or the sense of fulfillment I was chasing. Eventually, my interest narrowed to storytelling and escapism. But I got there by first trying many things and narrowing them down to my core interests—and then seeing what I could do in that world.

Tip #2: When you find a focus, begin with what’s familiar.‍

If you want to get started with photographing portraits but don’t want to start with photographing your family or friends, start with yourself. I started taking self-portraits to build up my confidence to begin shooting with friends. And I used Flickr to share those images, which helped me connect with like-minded people and get feedback to improve my work and continue building my confidence. Then I started to shoot with my friends and the people I would meet through Flickr. Just start building your portfolio from there and see where it goes.

Tip #3: Be crafty; be thrifty; and be social.‍

I recommend to anybody who’s starting out with this type of photography to place a lot of their effort into creating their portfolio. By that I mean whatever you can do on your own, do it. For example, I didn’t have access to stylists or designers when I first started out, so I would visit thrift shops for clothes and I would reach out to designers online on the off chance they might lend something to me. Initially, I placed my effort into capturing images I knew I could execute beautifully; once I had a decent portfolio, I used that to reach out to designers and other creatives within the industry. This approach gives them a chance to see what you’re capable of.

I’d also recommend participating in online social groups. I created a Facebook group called Fairytales and Fantasies Photography (with Bella Kotak). It’s a bunch of us who are interested in this type of photography and share images, but it also includes people who design things. It gives us a way to collaborate and help each other. Don’t be afraid to reach out to creators you find inspiring on platforms such as Instagram and Facebook. That way you start to create a relationship that can then, in the future, lead to working together.

If you like making things at all, don’t be afraid to craft things on your own, either. I make props whenever intuition strikes. For one of the shoots we did for the SmugMug Film, I had loads of newspapers and the brown packing paper that you get from Amazon, and I thought, “Let me see what happens if I make something from this.” I started rolling the papers up and using masking tape to hold them together, and suddenly a butterfly emerged. I decided to use that butterfly as a headpiece, and it became the starting place for the whole look of that shoot. That image didn’t exist until I created something from scratch.

Tip #4: Fashion helps tell the story.‍

Fashion is just as important as every other story element in your image. It sets the scene for the character we are playing with for that shoot. For example, one of my favorite shoots is a girl wearing a simple linen dress, because that evokes a sense of freedom and child-like innocence, and then we set her up in an elaborate scene. There’s a really nice juxtaposition of the stories and elements. Then there are other shoots I’ve done where the background is plain and I use fashion as a way to create a dominant character. Perhaps she’d wear something akin to armor and have an elaborate headpiece, and then we’ll style her wig so it’s fierce. Suddenly, a very soft-looking model can turn into quite a dominant character. And all that can be achieved through fashion choices.

Tip #5: Don’t get stuck chasing the vision.‍

When creating fairytales, you can have these fantastic visions in your head of what the final image should be. Sometimes you can get a bit overwhelmed by what you want to create and then feel underwhelmed by what you end up actually creating. It can feel like you didn’t do the vision justice, or you didn’t have the right skill set or the right tools. That’s something I know I struggle with.

I get around it by giving myself a break. It’s okay if I don’t realize the full vision; it’s important to have a rough idea. And I treat that as a starting point. If I’m chasing the initial vision while I’m shooting, and I’m not getting the right feeling when I look at the back of the camera, I switch it up. I know when I feel a particular way on a shoot that whatever comes from it is going to be a good thing, so I always end up chasing that feeling instead of the original vision. It’s okay if it doesn’t match, because ultimately that feeling leads me to a better idea.

Tip #6: Make the goal to please yourself—no one else.‍

Many of my favorite shots have happened on days where the initial vision had to be scrapped because conditions didn’t allow for it. For example, our goal was a dark, moody shot and the weather was bright and sunny that day. However, all that meant is I had to look elsewhere and figure something out. Then something beautiful resulted that wasn’t planned, but it’s more special because of that. Because what I’m always looking for is mood—an emotion. Something that speaks to me as I work on it. If I love a particular shot I captured, then I know it’s probably going to move somebody else viewing it. Sometimes images say more about us as a photographer than they do about the subject itself. Trust in yourself, and you can surprise yourself. I look to be moved by my own images, and that’s why they’re all so special to me. Because I cannot control what other people think of them, but I can control what I think of them.

Tip #7: Don’t fix it in post.‍

I originally started my career in architecture, so I was comfortable using computer-graphics software. When I first started shooting artistically, because I was so used to Photoshop, I was really relaxed with lighting, hair, and makeup, thinking, “Oh, I’ll fix it in post.” Then I learned more about what I could and couldn’t do in Photoshop, and I began to demand more control from myself when it came to planning and working through issues during the shoot.

For example, if there are any distractions in the background, I’ll clean them up during the pre-shoot because that’s one less thing to do in Photoshop. And if the hair doesn’t look quite right, I’ll make sure it’s corrected on set instead of taking it into Photoshop. Knowing my limitations in post-production has helped me tighten my creative eye when I’m shooting.

I look to be moved by my own images, and that’s why they’re all so special to me. Because I cannot control what other people think of them, but I can control what I think of them.

Tip #8: Be vocal.‍

This relates to trying to do less in post. In order to evoke the right mood, I have to communicate with the model. I try to be really direct — I think it’s just part of my personality. And if I’m looking for something in particular, I will say it as clearly as possible: “Can you look that way? Can you gaze this way? What about if you close your eyes and tilt your head back?” Whenever I’m on a shoot, I’m consciously looking at what the body’s doing, what the head is doing, the facial expressions, are the hands right. I’m looking at all the pieces and how they flow together. The model cannot see what I see, so my voice and my words are the only guide. We are working together to capture something.

Tip #9: The right mind-set matters after the shoot, too.‍

When it comes to editing on the go, I struggle. Usually when I’m traveling, I’m very present at that moment in time. And I find that when I’m editing, I need to be at a desk, sitting properly, with my things around me: a cup of tea, a candle, some music. The stage needs to be set for the magic to happen. It’s important.

Post-processing takes me around an hour—hour and a half—per image. Lately I’ve been placing pressure on myself to have it take less time. One of the things that really has helped me is creating actions of my color-toning processes. A lot of the time I spend looking at the computer wondering which color direction the image should go because there’s 500 options, and color is just as important as everything else in that image. If you come into it with cool blues and greens, it’ll give you a totally different atmosphere than if you color-graded with warm yellows and soft oranges. By using my actions I can cut down the time I spend editing by 70%.

That also helps when I’m traveling. I have a main hard drive I work from, a second hard drive as my backup, and then all my final images go onto SmugMug so there’s a safe place online all the finished images live. That also helps whenever I’m on the go doing interviews, or if I need to send a client an image, because I don’t need to grab my hard drive for images. I just go to my SmugMug account, locate my image, and send a link to it.

Tip #10: Never be afraid to play.‍

Move around, shoot from the side, shoot with things in front of you. Get some props and make little challenges for yourself. Shoot through things like a jar, a prism, or a bush. I find that when I’m working with a client, they will often have a strict idea of what they’re looking for. But usually the best images are created when they give me 15 minutes to play and I change it up: change the poses, change the location, change the angle I’m shooting at. I had a shoot recently where I set up people on these steps and it was great, but it wasn’t until I moved behind a bush and shot through a gap in the bush that we got the shot. That was really fun. Be playful when you’re shooting because you never know what you’re going to capture. Sometimes the camera sees very differently to the human eye.

___
Find Bella online:
Portfolio
Flickr
Facebook
Twitter
Instagram

___
Subscribe to the SmugMug Films channel to see future installments as soon as we set them free.

Like many creatives who found themselves behind a camera, Jay Ford grew up around a family who loved photography. Where his dad began by filming home videos, Jay continued by filming anything his friends and family would allow: parties, football games, sorority videos, and more. He used his camera as a way to express his voice and, through it, amplify the voices of others. We had a chance to speak with Jay and get a bit more insight into his work. Watch our latest SmugMug Film with him below, and read on to learn more about him in his own words.

How would you describe what you do?‍

I feel I’m a visual creator more than a photographer or videographer. I use my camera to create something that resonates with me first and then, hopefully, other people like it from that. I look for life and the emotion that creates that life—whether it’s the trees moving or the culture I’m in—and I try to capture the raw emotion that comes out of it.

What wakes me up every day is challenging myself to do something different than normal. Every night I look through other people’s photos and videos, then use that to curate what I want and challenge myself to do something new.

When looking at other’s work for inspiration, are you trying to pick apart techniques or are you drawing from their creativity?‍

A little bit of everything. I try to see how they achieved what they did, looking at the cameras they used, the scenes they got, the why behind their choices, the type of story they’re trying to tell. And I watch things repeatedly to get those answers.

For example, the show Euphoria is good, but the cinematography was amazing. Whoever the cinematographer was is the most creative genius I’ve ever experienced. The use of colors, imagery, and everything was crazy to see. And that’s something I want to implement in my work to be more creative.

At first people asked me, “Why do you have a camera?” After I started posting the photos, they started asking me, “Oh, where’s your camera?”

How did your photography interest evolve into a focus on portraits and filmmaking?‍

When I went to college, I had only raw abilities. But I always had a camera with me and would take it to parties. I used to record people at the parties as well as other stuff in college, such as basketball games and football games. When I started posting those images online, I began gaining momentum. At first people asked me, “Why do you have a camera?” After I started posting the photos, they started asking me, “Oh, where’s your camera?”

Once I started getting that momentum, I kept going with it. It not only made me happy, it made other people happy, too. And that’s what I love about photography: you get to make people happy and make them feel more beautiful than they thought they were.

What photography project has been the most meaningful to you so far and why?‍

The Black Lives Matter movement has probably been the most meaningful thing I’ve gone through so far. Because I didn’t go out there to make money. I didn’t go to the protest to chase clout. I went there because I felt it was my true calling to document history in the making. With everything going on in the world, I felt if that movement didn’t happen, much change wouldn’t have come. For me to document that whole process was part of the history: to take pictures of the emotion — the reactions of people dealing with these injustices.

I feel it’s my duty to show it in a positive light because the news and certain media only show the negative. People are dealing with this emotionally. They’re upset, and I wanted to show that in a beautiful way. That meant a lot to me. And I want to do more.

During the protest, how did you remain focused on capturing the moments and not losing yourself in them?‍

At first I definitely got lost in them. I couldn’t focus. There was so much going on: people around me, damage that was happening, the police shooting rubber bullets and tear gas, and my friends getting hurt. It was tough. But as we kept going, we were able to show the emotions of the crowd and how it kept swaying. That’s when I started to lock in and adjust to what was going on.

Obviously, you want to be with the crowd, but you’re here to show what’s going on. Once I refocused myself, I was able to capture that. A lot of people love the images I got because it showed a different side of what the media was showing. I knew people had to see what I was capturing because I didn’t see it on the news — what I was seeing then, in the moment.

…as long as you have a camera and you’re ready, you can have a shot.

You mentioned tear gas and rubber bullets. What precautions did you take to keep yourself and your gear safe so these images could be seen afterward?‍

A little bit of street smarts. I wanted to be on the front line, but I didn’t want to be stupid. When there’s violence going on, you learn to take a step back. You can’t dive into it as much as you want because you don’t know what will happen. But I took precautions for the tear gas: wore heavier clothes, put a bandana around my nose, wore glasses. I also had a good lens that allowed me to get close enough without going too deep. I was worried about a rubber bullet hitting my lens and cracking it, so when the rubber bullets were happening, I was running. That was my precaution there.

Were you able to share any of the images with folks amid all that chaos?‍

Yeah. A lot of people saw I was taking pictures and they got my Instagram. When I shared a video of the protest later, it went viral. Once it got shared, a lot of people reached out to say, “Hey, that was me. Can you send me that video?” So they were able to find me and then the images I’d taken from that day. That was powerful.

Do you shoot everything manually?‍

I usually do. But at the protest, I didn’t. A lot of the time then, I shot auto because you never know what situation you’re going to be in. There was so much running going on, it was also tough to try to nail the perfect shot. That was a big thing I learned: you don’t always have to have the perfect shot to get the best shot. The photo could be a little blurry. It could be a little overexposed or underexposed. But as long as you have a camera and you’re ready, you can have a shot.

What have you learned from your experience that you’ve carried forward to other shoots?‍

In order to grow, you’re going to need help. Whether you’re a landscape photographer, a commercial photographer, a family photographer, or anything else, you’re going to need help getting your photos out to the world. You’re going to need to help doing big production shoots. You’re going to need help running the business. As much as you want to do everything yourself, it doesn’t make sense. I was being selfish in the beginning by not wanting help. But now I’m growing as a person, and as a business owner, and help is what’s needed—help is what’s welcomed.

Once you’re at your shoot, what are you looking for in terms of light and framing your shots?‍

I always like to shoot at the same time of day outdoors: blue hour and golden hour. When it comes to framing, there’s really no plan. It kind of comes to me naturally depending on what the background is and where the sun is. Do you want it backlit? Do you want to get a close-up shot? Do you want to get details and emotion? I don’t like people posing or looking at the camera much, so I like movement. I like the actual smiles and not posed smiles. It comes to me as I go.

How do you go about keeping your photos safe?‍

I have seven hard drives because I shoot so much. I have a passion-project hard drive, a business hard drive, and a personal hard drive. Then I have three backups for each one of those. So when I do a shoot, I immediately back it up to my big hard drives.

When I first started out, I didn’t have a process. I used to shoot, put everything on my computer, and edit from there. Then, the first wedding I ever did, I ended up losing all the photos for it because I put everything on the computer and it wasn’t ready for all that. The computer crashed, and I lost all the files. I lost everything. Once I saw the bride’s reaction, I told myself, this can never happen again. That led to me being a bit overkill about my hard drives and storage.

Do you have any advice for those looking to pursue a similar path?‍

Just go out there and do it. Don’t listen to anybody who has no clue what your dream is. If you really want to pursue something, find those individuals who have done it before and reach out to them to figure out how they did it. Because if they did it, you can do it.

What about advice for capturing the image?‍

Go with your heart. Don’t go off trends. Don’t go off what other people like. Go off what you like. The best part about going off what you like is that it tells a story. Your story.

___
Find Jay online:
Portfolio
Flickr
Twitter
Instagram

___
Subscribe to the SmugMug Films channel to see future installments as soon as they are released.

Andy Best grew up with art in his blood; his grandmother was a successful oil painter, and he followed in her creative footsteps, sketching and drawing. His love for sharing emotion through visual mediums expanded into filmmaking and eventually photography, both of which led him to his outdoor adventure lifestyle. We caught up with Andy and his family on the road to learn more about what inspires him and how he decides where his next adventure lies.

Tip #1: Look for the ah-ha moments.‍

I grew up playing outdoors all the time, and I kept finding moments that would stop me in my tracks. I always found that a pretty compelling reason to stop and take a photo. But then there’s the challenge of using your tools the best you can to share a 2D image of what you’re seeing that can evoke the same emotion that made you stop. If you’re able to keep your radar up and witness those moments, really feel them, then capture them in stills or in motion, you’re kind of a wizard in a way — a magician.

Tip #2: Take time to enjoy the moment.‍

The greatest picture I didn’t take is always the one when I first get to a location. Instead of jumping right in to getting my gear ready, I tell myself I’ll ease into it the next day. For the initial day or evening, the “image” is only for my own eyes. I take a moment to enjoy the setting for myself without worrying about capturing it for anybody else. You know the film, The Secret Life of Walter Mitty, when Sean Penn is sitting up on the cliff edge getting a photo of a snow leopard? Ben Stiller asks him why he didn’t take the shot he was waiting for, and Penn basically says, “This one’s for me.” Those are probably the images that mean the most to me.

I have a friend I reached out to once for advice and he said, “I don’t really know if I can give you any advice but this: Just remember to put your camera down from time to time, and enjoy where you are.” I’ve taken that with me everywhere.

Tip #3: Do what you love and the rest will follow.‍

My career in adventure-lifestyle photography was a complete accident. I love filmmaking, and I love telling a visual story through images. I’ve also always felt very protective of landscapes. It wasn’t until a commercial-video client saw my side work that they approached me and asked me to do some fly-fishing photography work. I tried explaining that that wasn’t what I did, and I didn’t even own a good still camera. But he challenged me. Told me to try it. Next thing you know, I was shooting all these brochures. Then, more people started calling me a photographer because I was building a stills portfolio simply to start conversations with brands like Patagonia. I really wanted to wow them, start a conversation with photos, and then mention, “Hey, I do video work as my specialty. I’d love to do any video work you might have.” But next thing you know, everyone wanted my photo work.

Tip #4: Get out of your comfort zone.‍

We live on the road in our camper van nearly 100% of the time, and I really like the discovery aspect of going to a new place: it’s fresh, and you see things in a new way. When you’re constantly moving, you’re constantly challenging your senses to see something new, fresh, and different. I’m about to head somewhere more tropical, which is totally different from what I normally do. Getting out into the grasslands, like Nebraska, is so different to me because I grew up in the mountains. When I get to these places that are so different to me, all my senses are firing, and I’m super excited. If you grew up somewhere, you might get complacent. So I think the process of roaming around invigorates creativity and creates a sense of wonder that helps me feel and capture a frame.

Tip #5: Plan ahead.‍

When we get a location or a direction in mind, I’m usually using a lot of different apps to plan for everything I can. One of the apps, Windy, has a lot of layers and filters you can put on a map so you can watch what the weather is doing — because that’s huge when you’re living on the road full time. It allows me to plan a route based on smoke, fog, temperatures, or anything else to ensure the trip works not just for the shoot but for us as a whole family. We’re mapping out where water is, groceries, gas, propane, things like that. Also, depending on what I’m shooting — such as stars — I’m also looking for what features are in the landscape. So geography is also important. And other apps help me track moon phases, the Milky Way’s visibility, sunset/sunrise times, and things like that. All that gives us a clear map of when we’re supposed to be at a location and how quickly we need to travel.

Tip #6: Go where the story takes you.‍

Each shoot offers me a different challenge, and that’s why I select them: to help open myself up as a storyteller, a craftsman, and a creator. But there are a lot of times you set out with a specific goal. You feel like you learned so much from previous shoots that you’re going to go into a project and do it the best you’ve ever done it. But then circumstances change — like weather or talent — and the expectations you set for yourself can go awry. You get back from the shoot and you wish you coulda, woulda, shoulda. But you can’t let that stop you. You plan one movie, and you end up shooting a whole other one. Then, when you get to the editing process, you create a whole different one still. When you make a movie or build a shot, you really end up creating three, and you’ve got to roll with it, especially in the outdoor space.

Tip #7: Organize ahead of time so you can grab the shot.‍

For this particular lifestyle, I have really stout backup drives, a very capable but size-efficient laptop, multiple battery sources with solar, multiple tripods, a wide range of variable lenses, a whole bag of prime lenses for video and for when I want faster glass for a certain shot, a gimbal, and a few different drones. I also have a time-lapse system that I take with me everywhere just in case. As well as a really good audio setup so I can go full production mode and kind of do it all. There’s a lot of time if I’m doing personal projects — so as long as I have a tight kit — I can replicate a lot of cinema. But a good camera pack allows me to stay organized. If you’re not organized, you’re never ready for the shot.

You have to have a checklist. I always keep the same routines no matter what I’m doing, whether it’s a billion-dollar commercial film project or my own. It’s important to continually use those best practices or else you’ll find yourself in rookie positions like, “Oh, I forgot to charge the battery,” or the SD card’s full up.

Tip #8: Composition is key.‍

I like to talk about motivated design: principles of visual communication by way of controlling the eye. It’s really big when you’re sketching or painting, and a frame is the same way. It takes 30 frames to create one second of video — or a single frame — so you better get it right. I’ve always been taught to look for elements — be it a value or features in the shot — that lead the eye because you want to control the eye to stay on the image. It’s important to think about those things, because that’s the way you can manipulate the viewer to get lost in an image and feel intrigued by it. In motivated design, you’re designing with motivation, rather than just snapping a photo because it looks pretty. If it looks pretty, then you start getting into those principles and looking for those obstacles and values in light, dark, and color theory so you can craft a nice image.

Tip #9: Change your perspective.‍

We’re all in the height range of about four and a half feet to six and a half feet. That’s where we all walk around. The easiest way to get creative is to get yourself away from that perspective. Get a ladder. Lie on the ground. Get high. Get low. Get away from that standard perspective and instantly, no matter what you’re doing, you’re going to capture something that’s a little bit different.

Tip #10: Do the work but don’t lose the love.‍

Photography is a lot of sacrifice and a lot of hard work. If you’re not willing to do either of those, and you’re looking for instant gratification, I don’t feel like this industry is cut out for that. There’s a lot of romance in a nomadic filmmaker/photographer lifestyle in general. Now more than ever, young people are getting inspired by a movement that took place via social media, and it looks a certain way. But it’s a highlight reel. I’ve seen a lot of people fail because they leave high school or college, buy a van, and emulate what’s being done. They find they might not have all the tools to be doing it and get into really bad situations. You have to open one door at a time, and you never know where the next door will open, but you can never open the end door at the beginning.

Remember where you came from and why you got into this in the first place, whether it’s video or photo. I’ve seen people imprison themselves because they’ve done something that worked online, and then they’re in fear of doing anything else because it doesn’t get the likes. People then are afraid to share what they truly love to share, and what got them to success in the first place. Make sure you’re always comfortable and happy with what you’re shooting. Don’t shoot for any other reason.

___
Find Andy online:
Portfolio
Flickr
Instagram

___
Subscribe to the SmugMug Films channel to see future installments as soon as they’re released.

Photography has been a way of life for Karen Hutton since she was young. When a previous generation of her family emigrated from Norway, they photographed everything they could of the journey. That legacy of photos passed to Karen’s mother, and the shutterbug gene continued on to Karen, who grew up with camera in hand. It’s not only been a part of her life, it’s become part of her philosophy: a philosophy of light.

Learn more about Karen’s philosophy in our latest SmugMug Film, and read on for her best photography tips.

Tip #1: Express yourself.‍

Many photographers have a niche or genre they love and hone into their art. Although I’m known for landscape and travel photography, I explore nature, writing, and more. Photography is about more than a particular genre. In my mind, it’s a philosophy of life and light and awe and wonder. Photography is a means of expression and of conveying beauty and wonder in the world. You can stand behind the camera and create a signature image no matter what you’re shooting. The important thing is to express yourself and what matters to you.

Tip #2: Stay true to that expression.‍

The biggest challenge in photography is the same challenge any of us face in the performing arts, which is to be in the zone — to bring your true self every time. We have a billion distractions every day, and the hardest thing is to stay present every time you apply yourself to your art. People say, “It’s hard to stay fresh. It’s hard to stay inspired.” But the present moment is where inspiration lies.

The challenge is to decide who you are in your art because this will define who you are in your business. It will help you find your audience. It’s not the same as it used to be. You can’t just run around and sell prints. You have to dig quite a bit deeper and have a few tough moments with yourself to figure out who you’re going to be within your photography and what you really have to offer. Then stay true to what that is.

Tip #3: Learn what you love to see, then go capture it.‍

I have this way of finding places I want to photograph that people tend to blow off when they first hear it because it sounds so general, but it isn’t. It’s smart, and it’s specific: I know what I want to see, what I need to see, and what I love to see. When those things come together, magic happens.

When I consider going somewhere specifically for photography, whether it’s a new or an old place, I think about what I want to see. I’ve lived near Lake Tahoe for thirty years. I’ve shot it so much, I know that I want and need and love to see when it’s dramatic — when the colors are a certain way; when the air has a certain electric spark in it. I’m going to look for those conditions before I take the trouble to trek out there and set up my tripod.

If I think about somewhere new I want to go, I know I love to experience history. And I love to experience nature because it’s the brushstroke of creation. So I look first for those things. Then I look for the light and air to be a certain way. I look for the things I want, need, and love to see and that sets me on fire.

Tip #4: Live in (and photograph) the moments.‍

In landscape, the moments I look for I usually find in morning or evening light — which is kind of obvious. I don’t mind when the sun is high, but I like the sun high in winter way more than in summer. Here in the mountains, bright sunlight in the summertime washes everything out. Whereas in wintertime, even the highest sun is still beautiful.

When I go out, I look for the moments that make my stomach flutter, make me gasp, make me cry. I’ll have some physical reaction if I’m being present; I’m not sitting somewhere thinking, “Rule of thirds says this is a fine photo.” I don’t do that. I go by my gut. When I feel something is when I take the picture.

That’s what I always challenge myself with: telling the story of my experience, of the beauty, of how I feel. It’s my take on each of these scenes, but I do it through wide, mid, and close-up photos. I try to do all focal ranges everywhere I go, if I have time, so that I walk away with an entire book of moments.

Tip #5: Gear is what supports your vision.‍

You need to have the technical know-how, but you also need to have the inspirational artistic vision. FUJIFILM gear bridges that gap for me better than any other gear on the market, and it has everything to do with the way I like to interact with my gear. I also have a cinematic way of seeing, and their colors come closest to what I see and feel than any other camera.

The other reason I love their cameras is because I’m muscle-memory oriented. Muscle memory for settings works way better for me than menu diving because I’m always trying to be in the moment. With FUJIFILM, there are six or eight external buttons I can customize. Once I see and feel the moment I want to capture, I can just do it without thinking, which is so important for my approach to photography.

This philosophy guides all my other gear choices, too. I need them to work without pulling me out of the moment. Really Right Stuff is the last tripod I’ll ever have to buy because of how smoothly everything works, no matter how cold it is. Super secure. Super solid. Never fails.

My LucrOit filters are super true. They don’t tint anything. Their holders make it super easy to snap filters on and switch them out. I hate fussing with gear because it’s a distraction. These filters help me bring my vision to a photo without disturbing the moment.

SmugMug helps me share that vision with the world — without ever getting in the way. I’ve always felt like it was my “ace in the hole” when it comes to showing my images online. When I send someone there — or show them my work on the app — I’m relaxed knowing my photos look amazing with no worry about the user experience (it’s always great). It helps me present my art and do business seamlessly.

And that’s the key for any gear: it should support your vision and help bring it to life. It should never interfere with your moments.

Tip #6: Post-process to refine, not fix.‍

Get the image right in camera first, as much as possible. Then use post-processing to take it in the direction you originally envisioned. I prefer to use Photoshop over Lightroom to refine my vision, which usually shocks people. But I don’t shoot for volume. Shoot with meaning. Know what you want. Don’t shoot a million photos simply because you have room on your memory card. When you have a vision behind what you’re doing, you don’t come home with so much extraneous stuff that you need an enormous database to manage it.

I also prefer to work in layers. The simplest photos will always have at least three or four layers. The more complex ones might have thirty. This is why I use Photoshop, along with some plug-ins like Aurora, Luminar, Google Nix, Alien Skin, and Exposure.

To make an image better match my vision, the first thing I do is balance and clean up a photo. This usually involves tweaking highlights and shadows and cloning out any dirt that may have been on the sensor. The goal is to get the image to a good baseline. Then I may decide to add some adjustment layers and work on the light; I let the life of the image start to come through and get more creative from there.

Tip #7: Learn. Forget. Create. Repeat.‍

If you want to get started in photography, learn from others — even imitate them to learn how something feels or works. Then, forget all that and go back to what you want, love, and need to see, because that’s where life and art intersect. If it doesn’t make you gasp, don’t take the picture.

Beauty awakens the soul to speak. If there were ever a time that we need the soul to wake up and speak, it’s now. We need beauty now more than ever.

___
Find Karen online:
Portfolio
Facebook
Twitter
Instagram

___
Subscribe to the SmugMug Films channel to see future installments as soon as we set them free.

An artist at heart from a young age, Lizzy Gadd found her way to photography when her father brought home a small digital camera when she was twelve years old. From there, she discovered Flickr communities and dove into a world of exploration and experimentation through her lens. The journey has led her to far-flung lands and hidden oases buried in the back country, where she seeks new stories to be told with herself as the main character. Watch more about Lizzy’s journey below in our newest SmugMug Film, and read on for some of her tips about the magic of storytelling through photography.

Tip #1: Focus on feeling.‍

I’m quite particular about the mood in my work. My favorite photos involve moody weather, mist, sunrises, or sunsets. Weather plays such a huge role in conveying mood. As do locations. Seeking out and hiking to these beautiful, epic locations is all so I can capture the right feeling in my photos. Trying to get the timing right so the weather aligns with the location I want is always the biggest challenge in my work.

Tip #2: Be in the moment.‍

Self-portraits are a bit of a challenge, but they’re also a therapeutic process. I time-lapse my photos, so I set up the tripod, manually focus my composition, and program the timer to take a photo every few seconds. Then I walk out in front of the camera. I might stand out there for up to 100 photos, thinking I look epic or graceful, then I come back and find that maybe one photo out of a hundred looks the way I imagined it. Often it’ll take me several tries, going back and forth.

More often than not, I won’t take photos. I tend to enjoy being in the moment and connecting with nature. That’s always been my first love. I like to soak in the surroundings. Then, if I feel inspired, I’ll try to capture the mood I’m feeling. But I have to feel it first. Be in the moment. That’s most important. Once I feel that connection, that’s when I’ll try placing myself in the photo to see if I can capture the feeling through photography.

Tip #3: Let the light enhance the mood.‍

I love soft light. My favorite time to photograph is usually first thing in the morning around sunrise, especially in the fall when there’s fog. Once the sun comes up and shines through the fog, it creates a beautiful, gold, misty moodiness. I love warmth in photos, but I also love cold, dramatic tones. There’s a different kind of mist that comes from rainy days. As long as it isn’t clear, blue skies and contrasty, I’m happy.

Tip #4: Find an anchor for the scene.‍

When taking in a location, I like to find a place where there’s an object — whether it’s a tree or a rock — that stands out within a scene. I’ll instantly envision myself interacting with that object somehow, standing next to it or sitting on it, and can see the photograph in my head. Even if there’s nothing there except a beautiful backdrop, I can become the point of interest by incorporating myself within the photo. It gives a focus for the emotion I’m feeling. A frame for what I’m seeing.

Tip #5: Don’t be afraid to break the rules.‍

I very rarely follow the rule of thirds. I’m often centered in my photographs. And even though I always bring my tripod out with me, I rarely use it. Often I’ll shoot with my camera very low to the ground so there’s a soft foreground of grass or rocks that creates a dreamy effect. The out-of-focus foreground gradually leads to the center of the photo, where I’ll be in focus with the background behind me. I always try to find a way to frame the photo so I’m not lost among the landscape but also don’t stand out in a way that fights against the nature I’m trying to capture.

Tip #6: Find a community.‍

When I was 12 years old, my dad bought a point-and-shoot digital camera, which I picked up and started shooting with. A year later, I joined Flickr and started getting inspired by the people posting there. Photography became my biggest passion; I was shooting landscapes and animals every day. Then I started seeing some of my new friends on Flickr do these 365 projects, where they would take a self-portrait every day for a year. So I decided I would attempt one myself in 2010. I shot self-portraits every day, and it was a year of experimenting. I grew the most that year out of any year from the constant practice and feedback.

I didn’t have a style during that year; every self-portrait was totally different. But on the last day of my project, I went out to this mountain range and lake on New Year’s Eve. It was freezing — like –10º — and I took what I thought was going to be my last self-portrait because I didn’t necessarily like them. But on that last day when I was out there in the mountains, connected to nature, standing in the lake and freezing cold, it clicked. I loved that moment so much. That’s what brought me to where I am today.

Tip #7: Share feedback; get feedback.‍

In that Flickr community, we would all share feedback on each other’s work. Even if we didn’t give specific feedback on how we could improve, the constant support helped us build each other up. I think that’s what brought us all to where we are today. Many of us started meeting up in person as well, doing little photo meetups. The community I found there, they are like my family today. That has had a huge amount to do with my growth as a photographer — knowing I have a family of photographers that’s standing behind me no matter what I do with my work.

Tip #8: Choose the gear that fits your vision.‍

I switched to Sony three and a half years ago. The main reason for that is they’re a lot lighter. I do a lot of backpacking for my photoshoots, often going into the back country for a few days, and I was beginning to think lighter gear would help considerably with the weight I carried. The upgrade in quality was also considerable for me — from my original Canon 60D, which I think was 18 megapixels, to the Sony a7rIII, which is 42 megapixels. Seeing that huge jump in image quality was overwhelming and awesome, because I suddenly had so much more detail to work with.

Tip #9: Don’t be afraid to not take the photo.‍

When you feel pressured and don’t know what to capture, put down the camera, step back, and enjoy the scene. Don’t worry about it. Often, that’s when inspiration will come back to you. When you’re focusing so hard to see the scene through the lens, you forget to look at it through your own eyes and enjoy it that way. I find inspiration comes to me more when I put my camera down and simply enjoy being there. That’s when the ideas start coming to me.

___
Find Lizzy online:
Portfolio
Instagram
Flickr

___
Subscribe to the SmugMug Films channel to see future installments as soon as we set them free.

What's "sportraiture?” Simply put, it’s unique portraits of fervent athletes showing themselves doing what they do best. Pro photographer and SmugMug educator Levi Sim has a place in his heart for the passion and thrill of this type of portraiture, and today he's sharing three key tips on how to make it work for you.

When I started photography four years ago, a local photojournalist, Eli Lucero, opened my eyes to sports photography. He said, "You know when you make a great portrait that shows emotion and it's awesome? Athletes are finally performing what they've been practicing, and powerful emotions show on their faces all day. It's great to be a sports photographer."

Ever since then, I take every opportunity I can find to shoot sports.

Still, I'm a portraitist at heart, and I can't help making portraits of people everywhere I go. Here are three tips that let me maximize every opportunity I get to shoot great sports portraits.

1. Know your game.

Athletes spend many hours every day for many years learning to perform flawlessly. They have worked incredibly hard to have the body and the skills to do what they do. It is disrespectful to put them in front of your lens and then mess around with your camera, trying to figure out the best settings. You owe it to them to be proficient at what you're doing because you're photographing other passionate people.

I'm not saying you have to be a pro who knows everything before you photograph someone. I'm saying that you do your practicing before you shoot the athlete. At the very least, grab a kid from the sidelines and practice your stup right before you invite the athlete over. Then you can be confident that you'll get a good image from that same setup.

I'd also recommend quitting while you're ahead. If you've just taken a good picture with a test setup, don't say, "Let's try this other thing," unless you've also practiced the other thing, too. They'll think you're the best photog in the world if you fire off two frames and have a great picture; if you mess around with the unknown, they'll be frustrated and disappointed.

Practice your setup, take a good picture, and say thank you.

2. Seek passionate subjects.

I'm not likely to get the opportunity to spend a few minutes photographing a famous athlete, like John Elway or Danica Patrick. But, if I go to the open track day at the local race track, I'll definitely be able to photograph some very passionate people, and they are likely to let me spend more than a few minutes taking pictures of them.

This is my pal, Jeremy. He's the one who told me about the open track days, so he invited our photography group down to make pictures. The track is crawling with guys and gals who are so passionate about racing motorcycles that they travel across the country to race on a world-class track.

These people spend their lives working to earn money so they can blow it on a few tanks of fuel and a few sets of tires in a single weekend. They aren't the kind who ride because it's cool. They ride because they can't not. These are the kind of people you really want in front of your lens, and they are the kind of people who will be pleased to help make a picture.

3. Use technique, timing, lighting—anything it takes to create a memorable shot.

It's interesting that when talking to athletes, they can describe the winning goal of a game they played ten years ago. Passionate athletes remember the intricate details of a split second for their entire lives. And if you think about it, that's exactly what we do as photographers, too.

When you make a picture after a game, that picture will be part of their memory and an important piece of the experience. I recommend that you prepare a few techniques that will allow you to create a memorable image—something your subjects will be happy to show off to future generations.

In these motorcycle portraits, the guys just got off the track where they broke speed records passing others around the turn, one knee dragging on the ground and sending sparks flying. They have the courage to get back on their bikes after tipping over and sliding through gravel for a hundred yards. I'm just taking it for granted that you have the courage to approach them and ask to take their picture.

After chatting for a sec about the bike, or the game (or whatever), I usually say, "There's some really good light right over here, and I wonder if you'd let me take a picture of your bike—yeah, with you in it!"

I've never been turned down.

Now, put on your widest lens and get in close. No, closer! These portraits were made within inches of the subject, almost touching their bikes with my lens. I used the incredible Nikkor 14–24mm f/2.8. When you get in close with a wide lens, you make a picture that is distorted and absolutely not normal. And not normal makes it memorable.

The key to these pictures is the lighting. These are all made within a half hour of noon, so the sun is straight overhead, and there is no light in their eyes to fill the raccoon shadows on their faces from their eyebrows and ball caps. My solution is to use a speedlight to pound some hard light back into their faces and the shadows on their bikes. These are hard-looking guys with sunlight casting hard shadows all around, so using a bare-bulb speedlight really fits the scene.

Remember: the speedlight is not mounted to the camera; that would be obvious in the picture and ruin the look. The flash is off to the side, and high, as if it's a little more sunlight from a slightly different direction. Whether you use your camera's proprietary speedlights controlled by the camera, a radio trigger, or an extension cord, you've got to get the flash off the camera to control the direction of the shadows. When using a very wide lens (shorter than 35mm), you can even handhold the flash to the side and it will be enough. I prefer to have my buddy or my subject's buddy hold the flash.

‍One more thing...

For best results in sportraiture, bring a friend. Or two. The more the merrier! You'll have more people there to help make your vision happen, and more visions to make things happen. You help each other hold stuff, ask each other questions, make the rest of the town jealous by talking about "that great time you spent at the track," which then gets more people to join in next time. Photography is always better with friends.

Chris Dahl-Bredine isn’t your average aerial photographer — if there even is such a thing. Driven by a desire to connect with the world around him with as few barriers as possible, Chris straps himself into an ultralight aircraft and takes to the skies. Steering with one hand and shooting with the other, he captures stunning images of the American Southwest from above.

In our latest One Day, One Artist film, we accompany Chris into the high desert and mountains of New Mexico to see things from a bird’s-eye view. Watch the film below, and read on for a few of his tips about flight, photography, and elevating your perspective.

Tip #1: Go slow. Confidence, familiarity, and comfort are your friends.

One of the biggest hurdles I ran into when I started flying was people thinking, “You’re nuts! You’re going to kill yourself!” They basically tried to scare me out of it. But anything is possible if you really put your mind to it and do it safely. Aerial photography is something you want to take step by step and really build your skills — piloting, learning the weather, knowing your camera, knowing your aircraft — so when you get up in the sky, you feel comfortable and can relax.

If you’re up there and you’re terrified, then you did something out of order. The most important thing is you feel safe up there before you even worry about photography. From there, that’s where magic happens.

Tip #2: Look for your unique perspective.

I was always interested in photography, but I would only dabble in it. I never got that into it until I started flying. That’s when I realized what I was seeing was special and something not many people get to see. This was long before drones existed — almost 20 years ago — so especially then, not many people saw what I saw. Once I started flying, it was a natural progression to want to share what I was seeing through photography.

The main thing is capturing an image when you’re inspired by something — something that moves you when you see it. If it means something to you, it’s probably going to mean something to someone else as well.

Tip #3: Don’t be afraid to think big.

When I first started photographing, I had a tiny, 35mm point-and-shoot Olympus camera. Then I met a guy where I live in Taos who was a printer and a photographer, and I wanted to print my images bigger. When you print them big, they just come to life; they’re more dramatic. But I realized I was limited by my little camera. So I tried digital for a little while, which was even worse at the time — at least what I could afford. Then I went to medium-format film, and that started getting me the quality and resolution I wanted for big prints. You could stand in front of a big print and feel like you’re looking out a window and actually seeing the scene in front of you. It just comes to life.

Shooting medium format while flying was challenging, but it also made me want to make each shot count, so it was good training for me. And when I could afford a really nice digital camera and shoot a thousand frames in one flight, that changed things.

Tip #4: Stay flexible in your photography…

Photographically, I try to be flexible and open to learning new things. It’s easy to get into one way of doing things and stay in that rut of process. I try to keep an open mind when I’m up there with the camera because I know there’s a lot I don’t know. There’s always a new way to see things and a new way to capture things. Everyone can find their own way that’s going to be different from someone else. The story is an important part of the photo, too, so I think finding and taking photos that have a story is a good thing to have in mind when you shoot.

Tip #5: …but plan ahead with your gear.

In general, I make sure my camera gear is charged, I have plenty of room on my memory cards, and I have an extra battery. Then there’s the gear I wear: electric socks, electric gloves, long underwear, down pants, a down jacket, and a down suit over all that. It’s mostly having all the right layers so you can stay up there a while. If you forget one thing — say, your neck gaiter that keeps your face warm — then you have to land early because it’s so cold. Any bit of gear that fails or that you forget can basically end the flight earlier than you want to.

Tip #6: Hang on tight.

For my lens I usually use something pretty flexible, like a 24–70mm or 27–105mm, but I’ll sometimes change lenses. It’s totally possible to change lenses up there, but you have to be pretty cautious and aware of what you’re doing. I’ve seen a $2,500 lens fall out of a trike. A friend of mine didn’t get it on the camera right and we never found it. That was a big loss, but the biggest danger of shooting while flying is if anything falls and goes into the propeller…then you’re looking at more problems than your gear.

Tip #7: Watch the weather and follow the light.

I really love flying when there are clouds. There are so many variations of what could happen when there’s clouds in the sky, it changes everything. I wait for weather events that could have spectacular clouds: a particular kind of lighting, really clear air after rain or snow, new snow on the mountains or on the deserts — that gets me up early, too.

I’m always drawn toward the light whenever I’m up there. When you follow your gut feeling, you can find something even greater than you imagined below the clouds. Once I saw golden shafts of light coming through a hole in the clouds up in the mountains. It was all grey and drab down below, so I made my way toward this light. After probably 30 minutes, I finally got up to the hole and popped through. On the other side was the most beautiful, golden cloudscape. Trees and peaks were poking up out of the clouds, everything was glittering and wet, the golden light was shining down on everything below me as I went above the clouds. It was such an exhilarating moment.

Tip #8: Follow your passion, and use it to connect with the world around you.

The best advice I have come across is to follow your truest passion — whatever moves you to a place of feeling alive, happy, and grateful. Seeing the world with wonder and gratitude keeps you open to other people and experiences, which is so important.

Much of photography can be a self-centered, “look at the shot I got” kind of thing. Which is fine — there’s nothing wrong with that — but how can we make photography a contribution to the whole that makes us better as a culture and as a world? I hope to inspire people to see the wonder of this world that we live in and be moved to a place of “I want to take care of this” or “how can I make the world better for future generations?” instead of “how can I go get this shot and call it mine?”

Building connections between people and the natural world — promoting a cleaner, better, more sustainable future — is an important thing people often overlook. If you can find some way to make connections with the natural world and with other people through your photography, I think that’s really what’s needed these days.

_______

Find Chris Dahl-Bredine online:
Portfolio
Facebook
Instagram

‍

Subscribe to the SmugMug Films channel to see future installments as soon as they are released.