A place for you to learn, get inspired, and keep up to date with all things SmugMug and photography
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.
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.
"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.
"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.
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.
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.
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.
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.
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.
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.
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.
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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.
Whitney Chamberlin left a $250,000/year corporate gig to help people create their own images in the Smilebooth. His unique formula has his Atlanta, GA, booth rentals topping $200,000 in revenue, making $30,000–40,000/year on his own local events. Partnering with SmugMug for its simple gallery hierarchy, social-media marketing, and large, beautiful image display allows Smilebooth event-goers to quickly browse by location and quickly share photos, all while seamlessly integrating with their main site.
In his former life as a brand manager and marketer, Whitney Chamberlin spent his time bringing back iconic Nikes and wallowing in indie music. He was creative and successful, but something was missing. “I was making amazing money, but what I did didn’t have an end—what was I really doing?” he said. “Here I’m making people genuinely happy, just by putting something there for them to do.”
The Smilebooth idea bloomed when he started joining his wedding photographer wife, Jesse, on weekend jobs. “I was in the giant corporate world during the week, and my wife was shooting weddings on weekends. It was a bummer,” Chamberlin said. “I used to lose sleep worrying about [all the guests] being photographed. I said, I’m not going to walk around begging—it wasn’t my style. So I built the first photo booth out of plywood and a makeshift computer. It worked great.” He continued to refine the booth and grow the business.
Smilebooth milks every drop of revenue from SmugMug’s tool set by exploiting the social aspect of photo sharing. Citing SmugMug’s excellence at showcasing multiple images and large, beautiful displays, Chamberlin said he links directly to SmugMug from his own site so customers can view and discuss their images on SmugMug without any extra clicks.
Chamberlin likes having an online place to do event postmortems. “Then you can say, ‘I was at this event, come view my photos!’” he pointed out.
Furthermore, Chamberlin has been known to build clients their own SmugMug site so they can collect revenue from events themselves. “Some of our brides were a bit iffy on using the Smilebooth,” he said. “I said I could discount their Smilebooth and make them their own SmugMug account with Smilebooth images. She can set [the price]. It's enticing for the budget bride.”
There’s a silver lining for the vendor as well. “As a rental business, I don’t really need [the revenue]; print sales are an amazing added bonus,” Chamberlain said.
Chamberlin’s original venture exploded into a diverse international enterprise. In addition to Smilebooth rentals and his own company’s shoots, he manages an affiliate network and continues to produce booths for purchase. Seamless integration between his site and SmugMug, along with advanced customization, lets him manage his diverse business arms and maintain a unified look and feel. To his delight, the Smilebooth concept has proved nearly recession-proof.
“We created the first one in 2005 and growth has been spontaneously amazing. I used to get emails from photographers every week saying how do you get these shots in a photo booth?” he said. “We haven’t had any hiccups. The only challenge is getting photographers to stop interacting with everyone and let the Smilebooth do its job.”
The main lesson Chamberlin brought with him from the agency world was the ability to channel anticipation without meddling. Although letting drama and creativity unfold naturally is second nature to him, getting professional photographers to do the same is more difficult.
“For a while, I was frustrated with copycats,” he said. “Then I thought, why not build booths for them? I created a whole other business because I didn’t think people would get it.”
Smilebooth has spawned many imitators, but Chamberlin thinks his team’s ability to let action happen without intervening sets them apart. “I’m not one to hide the feather boa and silly hats, but that’s not our aesthetic,” he pointed out. “You are the creative. [In the booth], you can be creative with nothing in your hands or something physical in the room, instead of bringing the same props everyone has. Custom-made props? Awesome. Relevant props? Great.”
Jesse’s classical training came in handy, he noted, citing her general knowledge of cameras and lighting as key. Typically, his team demos the freestanding booth and clicker for one person. Jesse avoids posing subjects, often just advising them to be themselves.
“She has a photographic gift beyond the eye,” he said of her charisma and ability to help subjects let loose. “That’s what makes her an amazing photographer. How everything feels with the photo booth is basically that same feeling.”
The Smilebooth is addictive—and the results speak for themselves, all over Smilebooth’s SmugMug galleries.
“People don’t get out,” Chamberlin said. “It’s like that Risky Business moment where you’re sliding across the floor in your socks. People regain their childhood when they’re in front of this thing.”
Chamberlin’s captured grandmothers flipping off the camera, dads hugging sons, and lots of devious teenagers smiling about something they shouldn’t be. “People get excited about doing their own thing in front of the camera instead of being told what to do,” he said. “The game of anticipation is really simple. When you’re in a group and one person has the wireless clicker remote, it’s exciting—it’s unbounded and limitless. You can push the button thousands of times or just once, and there’s a roar of laughter, because it’s a real moment, not a pause—not a tight, confined scenario.”
As Camp Tecumseh celebrates a century of sun-soaked adventures, we sat down with Marketing Director Sam Hirt to discuss the visual history of this camp. Beyond the rustic cabins and laughter, Hirt shares insights behind immortalizing Camp Tecumseh's spirit—unveiling the transformative power of photography and videography, and SmugMug’s role in creating a digital haven where each canoe ride and campfire flicker can be preserved.
Tell me a little about Camp Tecumseh.
Camp Tecumseh is celebrating its 100th year now in 2024. The camp started in 1924, and we’re about 25 minutes from West Lafayette, where Purdue University is, on the Tippecanoe River. When people think of summer camp, that’s Camp Tecumseh: canoeing, swimming, singing songs, making friends, hanging out in cabins together, looking up to camp counselors. We serve between 5,000 and 6,000 kids every summer, and we serve more than 30,000 annually. That includes school field trips, outdoor immersive experiences, and a number of curriculum-based or leadership-based programming for outdoor education. We also have a department for groups and conferences, so anyone who needs a meeting space or a place to have a retreat can also come here.
We have nine week-long sessions of overnight camp and seven weeks of day camp within that same time period during summer. Each Sunday we have a new group of 500 overnight campers, and Monday morning we have a new group of 200 day campers. At the end of the week, they all go home.
The rest of the year, there could be days where all 600 to 700 beds are full with a variety of schools and retreat groups, or there could be a random day in between those groups where it's empty. It's pretty busy throughout the year with lots of groups coming in and out.
How did you get involved with the camp?
My wife actually grew up at this camp. Her dad worked in the camp industry for 40 years, including at Camp Tecumseh, and she lived on site. So she has it in her blood. I didn't grow up that way, but I did go to camps growing up. When I met her, I learned about Tecumseh, and we worked a summer there together when we were in our early twenties. I was on the media team as a videographer, and I used SmugMug for the first time back then.
I later got into the camp industry separately, working for the American Camp Association. When a full-time opportunity came about to be the director of marketing at Camp Tecumseh, I took it. I've been here full time since 2019, so this spring will be five years.
How’d you get into videography?
I was really into camera stuff, but I didn't have any technical training, so I taught myself. Then I started filming friends' weddings, then other people's weddings. That was my introduction to videography, which led me to photography. From a professional standpoint, I do more photography than I do video, but I do both in my job and both on the side. And this job has made me a much better photographer.
How does that translate into telling Camp Tecumseh’s story?
Our priority is to show the magic of camp—what's wonderful about the experience and what it looks and feels like to be a camper or counselor at Camp Tecumseh. I think the photos and videos really help convey those feelings. The goal is to capture as much as possible to show all the activities you can do at Camp Tecumseh in a given week. I really like that parents have to do some gallery searching after their kids attend camp because the parents get to see the whole experience and not only a single photo of their kid.
Could you tell me a bit about your process?
I have a team of three that work for me; one does video, one does photography for overnight camp, and one does photography for day camp. At any given moment, we've got one person taking photos for 500 campers and one person taking photos for 200 campers.
The media team that works for me in summer focuses only on summer camp. The rest of the year it's just me whenever I have time. So in summer, my team will look at the schedule for the day and make a list of the activities they want to capture, whether it be horseback riding, canoeing, pickleball, swimming, or whatever. Then they'll go out with a golf cart and some Fuji camera gear to capture as much as they can.
Once they've shot a decent amount, or filled a memory card—we shoot RAW so they fill up fast—they'll come back, offload the card onto a Mac, and sort to find good photos. We don't look for the perfect photo; we look for clear, appropriate photos that help tell the story of the day. Then they edit in Lightroom, export, and upload to a new gallery on SmugMug.
Any event that's happening at camp on a given day ends up being a gallery for us. On a good day, for example, we'll create a folder for Monday. Within Monday we've got galleries for chapel, Newdls (where kids learn a new skill and use their brain—their noodle), afternoon activities, and lake time. It helps us create a folder full of galleries, which really is a day full of events.
Part of what I do is oversee the process and make sure things are looking okay. As the week goes on, I challenge my team to seek out shots they might not have gotten yet. Have you made it to archery? Have you made it to the River Village?
How does this work help the camp?
As far as marketing, word of mouth has been the best thing for us. Like when parents share our photos with new neighbors who moved into the neighborhood: "Here's where our kids go, and here's a link to their photos. See how great it looks." Also every Saturday, when a given session is over, all our summer staff will find photos of themselves and go to Instagram to make a post. We have hundreds of notifications each weekend. It's free, organic marketing that’s a gift that keeps on giving because we have high-quality images at the volume we do.
Also, everything we upload can be purchased by the parents. But we explicitly tell them on the site they can download images for free. We don't make a ton of money off that, but we do get 50 million hits in the summer, which is a really high amount for a nonprofit like us.
The benefit we get from people saving the photos is they share them on their own social media or with their neighbors, which outweighs any kind of money we could make from them in my eyes. And everything is password protected for the high-resolution downloads.
How does SmugMug factor into your work? What got you started?
My predecessor, who's a friend of mine and a great photographer, chose SmugMug for the camp ten years ago. Then I've ushered it forward.
SmugMug does a great job of handling our volume because we take lots and lots of photos, and I like how quickly it uploads everything. We upload anywhere from a couple hundred to a thousand images in a single day, so parents have to look through a lot to find their child, which is their number-one priority when they're looking at the photos. And I want them to do that. I think that's great.
I also like that our SmugMug site can seamlessly tie in to our own site and branding, which has been crucial. I would hate for parents to be taken somewhere else and think, "What is this? It looks so different." Right now they can go to our SmugMug site and think it’s just part of our main site, which is great. I want it to look less like SmugMug and more like our own thing, and so far that's working the way we want it to.
Gallery presets are really handy for what we do, too. At the start of each summer, I can show all three of my staff at once how we set up a gallery, save it as a preset, then give them instructions on how to use that preset when creating a new gallery. Then the rest of the summer they can do it without me overseeing it.
Any tips for new SmugMug users?
If you're a camp, or some other organization that posts galleries based events, take advantage of SmugMug’s folders for organization. You could look at how we do it to get an idea of how useful they are. For example, we might create a folder for week one of 2024 overnight camp, then within week one, there's folders for each day of the week. Within each day, there are galleries for events. That's a really clear way parents, staff, or visitors can see the whole experience.
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We really value photography and videography here at Camp Tecumseh. It's not just me as the marketing director or even just the media team. It's all my coworkers. They talk it up to other people and say, "Check out our photos." We take pride in our hard work and the output we have, and I’ve always liked that SmugMug has been a good place to host our photos.
This month, we had the pleasure to catch up with Heidi Anderson of Legacy Livestock Imaging. Heidi is a long-time SmugMug customer and an incredible photographer. She and her husband, Charles, have grown their business and now employs a staff of professional photographers ready to capture and tell the agricultural story. Read on for our conversation with Heidi.
SmugMug: Hi Heidi! Thanks for talking with us today. We would love it if you could tell our readers more about you.
Heidi Anderson: I’m a professional photographer specializing in agriculture and rural America. We work hand in hand with producers of beef cattle, specifically for advertising and marketing purposes. We also shoot a variety of livestock shows, seniors, weddings, and families throughout the country.
SM: Wow — that’s so interesting! Please tell us, what first interested you in photography?
HA: I’ve always had a camera in my hand for as long as I can remember. I started my career as a portrait photographer and I also photographed a number of professional ballet companies. Then, I married a rancher and our business took a shift in that direction. I found a niche in the Agricultural industry.
SM: That is definitely a niche market, but you’ve been incredibly successful! What camera gear do you use now?
HA: We use all Nikon cameras and lenses. We currently run with the Nikon 850 and z7. The dynamic range extraordinary and honestly I have had a Nikon in my hand since I got my first 35mm film camera in junior high.
SM: Tell us more about what type of photography you shoot and why you decided to gravitate towards this genre.
HA: I shoot senior portraits, family sessions, corporate agriculture, and livestock shows. You should always photograph what you love and where your passion is. Communicating the realities of life in rural America is my passion — the people are amazing.
SM: We love the stories that you tell and can see that coming through in your photos. How long have you been using SmugMug and what got you started?
HA: I’ve been using SmugMug since 2009. I was venturing into digital storage and delivery and have been thrilled ever since.
SM: Do you have any tips or advice for a new SmugMug user?
HA: Follow your “why”. As long as you communicate through your lens the heart and soul of what you do your art will reflect that. And the success of your business will follow.
SM: Most definitely! Thank you for sharing your words and thoughts with us today!
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Follow Heidi Anderson at Legacy Livestock Imaging and on Facebook, Instagram, and Twitter.
Originally published at https://www.smugmug.com.
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.
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.
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.
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.
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.
In this SmugMug Spotlight, we had the privilege to meet aerial and landscape photographer Andy Yeung. Based in Hong Kong, Andy has been taking spectacular photographs since 2005. You may even recognize some of his photos — his series called “Urban Jungle” went viral on social media a few years ago.
SmugMug: We are so excited to sit down and talk with you, Andy. Your work is stunning. Can you tell our readers a little more about what got you started in photography?
Andy Yeung: I developed a passion for photography at an early age when I received my father’s old camera as a hand-me-down. It was this early exposure that introduced me to the world of photography, which I believe has a healing power. I believe that a great photograph can speak to people’s emotions and make people pause and think.
SM: You definitely do give us all such a unique perspective of the city! Can you tell our readers more about the gear that you currently use to capture these images?
AY: I use a Canon 5D Mark IV. It is a full-frame camera and has excellent image quality and multiple lens choices. That makes this camera really convenient for me. I also use a DJI drone. This drone provides me a new perspective of where I’m at and is very reliable and stable to fly.
SM: Awesome. Tell us more about why you chose to shoot your genre of photography.
AY: I photograph cityscapes and architecture — mostly capturing the unique visual and structural characteristics of Hong Kong from the perspective of a local photographer. I got into drone flying in 2015 and that has added the new perspective that I was looking for.
SM: Your aerial shots definitely show a unique perspective of Hong Kong that you wouldn’t get if you were just walking the streets. Why did you choose SmugMug to be your partner in presenting and preserving these amazing shots?
AY: I’ve been using SmugMug since 2014, if my memory serves me right. I started using SmugMug because it is very user-friendly and a great platform for photographers to promote themselves and offer prints for purchase. Plus, many well-known photographers are using it.
SM: Wonderful! We are so glad that you’re happy with the platform. One last question: Do you have any advice or tips for a new SmugMug user?
AY: I highly recommend customizing your website template! Spending the time to do that will help you stand out even more.
SM: Thank you, Andy! Great advice and again, thank you for your time and allowing us (and our readers!) to get to know you better.
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About Andy Yeung: Andy Yeung is an award-winning photographer specializing in architecture and landscape photography. As a born-and-raised Hong Konger, he learned to cull inspiration from the familiar, especially when it comes to coming up with shots of his over-photographed city. He relies on a good eye and knowledge of techniques to capture magical moments of Hong Kong and transform what he has seen into something that mirrors how he feels.
Richard Burley is an educator, photographer, and the founder of Epic Action Imagery. He travels the world photographing sporting events from football and hockey to obstacle races like Tough Mudder and Spartan. We caught a moment of his time to talk about luck, sofas, and velociraptors, among other fun details.
SmugMug: Hi Richard. To start with, tell us about yourself!
Richard Burley: I’m a sports and action photographer based in the UK. Prior to taking up photography as my full-time job, I worked in education. Initially as a college teacher progressing up the career ladder to management roles. In 2014, just as my photo business was starting to grow, a conversation about volunteers for redundancy saw my hand shoot up. A few weeks later I packed up my desk and headed out of my office and on to what became a huge adventure. I do still teach a few hours and enjoy that side of my life too, but I fell in love with action photography early.
SM: How’d you get into photography?
RB: I’ve had an interest in photography since I was a child watching my dad in his home darkroom developing photos. It wasn’t until much later that I started to think more seriously about taking photos professionally, but my interest in capturing sport, action, and movement was growing.
I bought my first DSLR with the royalties from a text book I co-authored and started to learn lessons by trial and error. I prefer to learn by experimenting and finding out what works and what doesn’t rather than reading or watching others. The only qualification I’ve actually got is a badge from Cub Scouts. I’m very much self-taught.
SM: Tell us about starting and growing a photography company?
RB: The real start of it was in January of 2010. I’d stopped coaching football and decided I wanted to get into photography, and was shooting semi-pro matches for a friend. But I just wasn’t getting the shots I wanted, because I was convinced I didn’t have the right lens.
So I go to the camera shop, just to look at a new 70–200mm lens…and 30 seconds later I’m walking out with the box. [laughs] And I’m thinking “I’ve just spent the sofa deposit on a new camera lens, this is gonna take some explaining.”
So I told my wife I spent the money we’d saved for a sofa on a camera lens, and she responded “Well you’re gonna have to take that lens and make that money again.” Which I took very literally! I said okay, I’ll start a business.
SM: The right equipment can make all the difference! What happened next?
RB: A couple of months later, I’m shooting the occasional sporting event, making a little bit of money, but still employed full-time with the college, when on a trip to Cambridge with the family I spot a billboard. On this billboard is a picture of someone jumping over burning straw bales, and I thought “that looks like fun, why don’t I see if they’ve got a photographer?”
There’s a concept people in business will often refer to called “luck.” I think I’ve benefited from an enormous amount of luck. This was a billboard for Spartan Race. They’d just started — one event in the US, no events anywhere else, this was their first event in the UK — and they said “you know, we hadn’t thought about course photography, of course you can come!”
That first moment at a Spartan Race really told me what it was gonna be like: I’m set up along the course, waiting for people to come from the right, and suddenly they appear to my left like velociraptors. And that was it. That said to me “don’t ever expect everything. You know that thing where you like things to be predictable? You’re gonna have to part with that.”
SM: What a lesson to learn on the first day. How’d you grow that into the Epic Action Imagery we see today?
RB: Well, one thing led to another and soon Spartan was asking me to shoot their international events. Then other events start asking me to shoot, because they’re pulling from Spartan’s pool of course photographers, and suddenly I’m doing this full time and building teams. I’d call it an accidental business, really. An experiment that got entirely out of hand.
I think I was fairly lucky, again, because I was an educator and a manager in my full-time work before this. I was used to recruitment, I was used to building teams, passing on information, delegating, and allowing people to grow. Everything I did was very developmental.
The whole purpose of education is to help people grow to become better than yourself — and not be intimidated by that, which is a great fit for photography. It’s really something I look for while building a team of photographers: work that makes me stop and go “whoa. I’ve gotta know how you got that.” I’ve had the privilege of working with other photographers that inspire and enthuse me to work hard and to keep learning.
SM: What is it about action photography that calls to you?
RB: I enjoy the challenge of capturing movement at the right time. Facial expressions in sport really tell a story too. Emotions are often amplified in a sporting environment and seeking to tell the story is a challenge that I enjoy. Participants on a Tough Mudder course emerging from ice filled pools or getting zapped by electricity really brings out a range of expressions. And I’ve done a couple of the events myself so I have an inkling of what they’re experiencing.
I enjoy the people too. Sports events have an energy and a vibe that I find motivating. Capturing people overcoming fears or beating their personal bests is a responsibility I take seriously and I work hard to ensure that moment is captured for them to share with their friends and family. There’s been several moments where I’ve captured people who’ve overcome significant changes in their life to achieve a sporting goal. Often I find there’s a bit of dust in my eye when seeing such a victory.
A big motivation for me to make amateur sports people look like pros, giving them an image in which they look truly epic. From my personal perspective I always try to take a picture that makes a person look and feel like Usain Bolt. When they’ve had a bad day and they’re reaching for that beer in the fridge, they can see a picture on the fridge door of themselves leaping over flaming hay bales and think “I am awesome! I am epic!”
SM: Last business question: what’s the biggest challenge in shooting action photography?
RB: The vagaries of the weather, absolutely. I’ve worked in 42 degree heat (108° F) in Bahrain, and I’ve worked in -20 cold (-4° F) in Canada. Thigh-deep snow, I’ve been swatting flies off, days where it feels like someone’s hitting me with a firehose, but I love that. I love being outdoors. To reframe that: I don’t think there’s a challenge apart from loving what you do, really.
Even when you’re shooting the same thing — someone jumping over flames or crawling through mud — how do you tap into the journey they took to get there, to be fit enough to run five miles and leap over these flames? The biggest challenge, and the biggest joy, really, is tapping into the energy and euphoria of these participants each and every time.
SM: What gear do you use to capture those moments?
RB: Canon 1DXs (3 x mk1 and 1 x mk2) with a range of lenses from 16mm to 400mm. I started with Canon in 2006 and have yet to be tempted to try anything else. I am curious to try a few mirrorless options and listen to the experiences of other photographers when considering my kit choices, but the 1DX is a versatile workhorse and has coped very well with the range of conditions that I find myself working in and the image quality means that I can get the images I want.
The lenses I favor for events are the 16–35mm and the 70–200mm. My kit gets a fair amount of scuffing on rocks and hard ground so I use an EasyCover to try to keep my kit protected.
For football, I’ll have the 400mm and 70–200mm as a main set up and the 16mm on a remote camera positioned behind the goal using a PocketWizard set up. The 400mm is my favourite lens. It’s an old-school mark 1 IS 2.8, but so crisp and ideal for capturing the action that unfolds at the other end of the pitch. It’s a little heavy and if the teams change ends before kick off, it’s quite a challenge to run round the pitch perimeter with all the gear. I hear the mkIII may be a little more mobile and I may make the switch in the future.
SM: Speaking of gear, what got you started with SmugMug?
RB: I started with SmugMug in 2013. I met a representative at the PhotoShow and at the time was looking for a platform to host event images in a cost-effective, reliable, high quality, and simple to use manner. I was also in search of something that would let me search my photos by keywords and bib numbers so I could easily sort participant photos. We had to be able to deal with the kind of peak demand that these events generate. Fortunately, SmugMug met all these criteria and I signed up that evening. 4.7 million photos later we’re still going — if I posted one photo every minute, it would take me 7 ½ years to get through them all. We love it.
SM: What’s your most-used or favorite SmugMug feature?
RB: I actually just redesigned the site last week. Part of our post-COVID recovery has been taking the time to think about what we do and why we do it, and engaging with my local business community. I met with a local marketer who told me “your photos are amazing, but man your website’s old fashioned.”
So I tried a landing page, liked the look, and three hours later I’ve got the whole site looking brand new. It was that easy.
In terms of what I use a lot, it’s image library management. SmugMug works as part of our client relationships, so Spartan or whoever can go in and retrieve images easily, and we manage their photo library as part of the business relationship. They tell us what details they want for the photo — keywords, metadata, factoids, you name it — and we’ll get those set up for them.
Photo sharing is a big part of it, too, and obviously sales, which we like because they’re all seamless. It’s also visibility. I can see what photos people are buying, track stats, keep up with what’s popular. Sometimes you get excited about an image as a photographer because all of the elements came together, and you get to see people excited about those same things enough to buy and share them, too.
SM: Lastly, any tips for a new SmugMug user?
RB: Learn. Keep learning. See what others do, interrogate the style, and let that style influence you as you capture your images and organize your site. There’s so many wonderfully talented photographers showcasing their work on SmugMug, it’s a great way to find inspiration and to showcase your own work.
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Follow Richard Burley on Instagram and Facebook. Also, visit his website at https://www.epicactionimagery.com.
And, tell us what you think of this interview! Start a conversation on SmugMug’s Twitter, Instagram, and Facebook.
A newborn baby is one of life’s most precious additions and the source of many joyful moments. But how to capture those moments, fleeting as they are? Enter LA-based photographer Erika Seress, founder of The Pod Photography, a modern portrait studio specializing in helping make parents and their little ones look their very best. We sat down with Erika to talk to her about the work she does, why she does it, and what advice she can offer anyone new to SmugMug.
SmugMug: Hi Erika, thanks so much for chatting with us! Your work shows off such wonderful passion. Please, tell our readers more about you.
Erika Seress: Hi! So nice to chat with you today, and thank you! I’m Erika Seress, and I founded The Pod Photography in 2008. I had a vision of creating a modern portrait studio for today’s sophisticated clientele, and I love photographing people—especially tiny ones! I specialize in documenting baby’s first-year milestones. I’ve also authored The Parent’s Pocket Guide: Taking Kids’ and Family Photos, am a photography workshop teacher, and appeared on Lifetime, Hollywood Access Live, and various celebrity reality shows. I’ve also been published in Cosmopolitan magazine and The Wall Street Journal.
SM: That’s incredible! You’re one busy and successful photographer. Our readers always love to hear this part, so please tell us how you got started in photography.
ES: I started taking pictures to document my travels while living abroad in Thailand and Germany. I loved capturing the culture, people, and my daily life so I could look back on them. When I moved home to Los Angeles, I got a degree in photography on top of my business degree and then started my portrait studio in 2008.
SM: Amazing. Thailand and Germany are two incredibly stunning areas of the world. Another insight that our readers like to know is what equipment do you use and why?
ES: I am a Nikon shooter. I love how intuitive the gear is as well as the sharpness of their lenses. I shoot 90% of my photography with a Nikon 70–200mm f/2.8 lens since it is perfect for really flattering portraits of people, plus I can zoom in and out to take both full lengths and close-ups of a child without moving my body. You've got to be quick when it comes to kids!
SM: It’s so true! They definitely change and move in a blink of an eye, but It sounds like you enjoy the challenge and have mastered it. Your photos definitely reflect how good you are at capturing that moment. Could you tell us more about the type of photography you shoot and why?
ES: Sure! As mentioned, I am a portrait photographer specializing in newborn, maternity, babies, kids, and family photos. I have always loved photographing people, and at the beginning of my career I did mainly fashion and commercial work. I came to realize that I felt much more fulfilled by working with private clients and creating art for their families, so I have shifted my business toward that focus.
Today, my company, The Pod Photography, has really flourished in Los Angeles where we focus on a mix of modern natural-light portraiture and elaborate set design. I love the art of creating custom sets that reflect a family’s or child's hobbies or personality or just bring some whimsy to the portraits. I was recently commissioned to create intricate sets recreating a Starbucks store, the Oval Office, Star Wars, as well as design elegant tea-party sets for my newborn and first-birthday clients. We have a lot of fun at my studio!
SM: What brought you to using SmugMug for your photos?
ES: I've been using SmugMug since I created my very first website in 2008. I love SmugMug because of its integration with sales, and how I can seamlessly sell digital and printed products through my website. I'm also a big fan of the unlimited storage!
SM: That’s awesome! OK, one last question: Do you have any advice for someone who’s just starting to use SmugMug themselves?
ES: Get creative designing your website! Start with a template but don't be afraid to customize it so your website stands out from the rest. SmugMug makes it so easy to have a unique website.
SM: What a wonderful tip! Thanks so much for sitting down with us today and for sharing your story with our readers—we really appreciate it!
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For more about Erika Seress of The Pod Photography, visit her website at https://www.thepodphoto.com/ or follow her on Facebook and Instagram.
Glossy Finish was born in 2006 when Haim Ariav was suddenly inspired to build a mobile photo lab in a trailer and cart it to sporting events, enabling families to view, purchase, and retrieve photos on site. Ariav, a classically trained photographer, saw an unfilled niche: he recognized that as a “want” industry, photography was taking a hit in a rough economy, so he set out to re-brand memorializing athletic moments as a “need” by making it easier to enshrine kids’ sports glory. Redefining how images are delivered on site is the foundation of Glossy’s business model, unique in the sports photography vertical.
But on-site sales aren’t Glossy’s sole revenue stream. After an event, Ariav’s team uploads its treasures to SmugMug’s cloud and follows through with additional distribution via SmugMug’s labs. Online sales, a significant supplement to Glossy’s revenue stream, run smoothly on SmugMug, along with back-office functions. “We rely on the website for 100% of our revenue for events that don’t utilize the mobile lab,” Ariav said. “Using the SmugMug infrastructure, reliability and scalability are key for us. Having access to the various products offered by the labs is a huge opportunity for us to carry out our online strategy.”
Ariav’s team uses online proofing to boost non-mobile sales. “Different events may not warrant the use of our patent-pending mobile lab,” he pointed out. “The success of those depends on customer satisfaction with images and ease of purchase. SmugMug allows us to deliver a successful experience.”
Ariav endorsed SmugMug’s decision to allow digital downloads to have watermarks. “We felt it would facilitate our ability to brand ourselves on social media,” Ariav said. “We wanted to have a presence on social networks like Facebook and Twitter, where so much photo sharing takes place. We know how important printmarks and watermarks are to both our business and our creativity.”
Ariav milks every branding opportunity he can out of SmugMug’s tools, even while focused on image protection. “Printmarks turn images from just a photograph into a memory,” he said. “Our logo is also typically part of the printmark. Watermarks deter people from stealing, but we also use them as a way to show what [clients’] prints will look like with the printmark. We are always marketing and trying to keep up brand awareness.”
Outlining a strong customization strategy for site design and gallery organization, and a reliance on SmugMug’s advanced customization tools, Glossy also has the cart-branding feature firmly in the “on” position: “Branding is a huge part of what we do best, which can be seen in our website customization. We [use] cart branding so our customers know they’re getting a great Glossy Finish product. We also use the box sticker. We want customers to know who they are getting a package from and, most importantly, thank them for their order.”
Ariav used to blanket events with trigger-happy shutterbugs. Now, by sending sales teams to pre-sign customers, he may only capture four or five kids out of 20, but the average order has increased from $25 to $125. “It’s okay not to photograph every player on every field at every game,” he said. “We focus only on those that want and love our photos. It works better for the customer and us
With SmugMug’s help, this focus on time-saving extends to online sales: “We try to keep pricing as uniform as we can to lessen confusion on our end,” Ariav said. “With the introduction of pricelists, it is much easier to organize pricing throughout the site. Now I can set up pricelists for sales and simply move galleries around once the sale is over.”
After cutting overhead and moving from the flea-market, on-spec approach to a more profitable, streamlined system scaffolded on a $20 deposit credited toward purchase, Ariav saw opportunities to reach a larger audience without snapping a photo. Envisioning his business as “an exclusive entertainment club,” Ariav created custom lanyards customers could don at soccer tournaments, showcasing that their kid’s athletic prowess was immortalized by Glossy Finish. The result? A flood of visitors to his trailer.
Photographers have never discriminated when it comes to capturing contacts; Glossy worked hard to collect home addresses and emails. Now, Ariav plays smarter, relying on texting select targets for marketing blasts. His on-site blitzes are wildly successful. “If we have a slow period, we can ping them and—boom!—the trailer fills up. We have a direct connection to our customers. And when we’re done with an event, we have more contacts in our database for future direct and instant marketing.”
