The traditional PC (Prontor-Compur) synch flash connection formerly standard on every SLR has but has all but disappeared from today’s entry and mid-level digital SLRs is . There is, on many compact SLR’s, simply no place to plug a synch cord from a monolight or any other kind of studio flash. But one feature that even the least expensive digital SLR does have is a hot shoe. If your camera doesn’t have PC outlet but does has a hot shoe, all you need to is slide Adorama’s inexpensive ($9.95) Hot Shoe to PC Adapter and you will be able to connect any standard sync-cord and get that shot.

If you want to eliminate the synch cord entirely, here’s another suggestion. I’m a bit of a klutz when working in the studio and have, more than once, stumbled over a power cord and more times than I can count, over a synch cord. For me and others like me, a wireless trigger is the best (and safest) solution for tripping the light fantastic. Flashpoint’s Infra Red Remote Trigger ($29.95) will trigger any standard flash or even multiple flashes that have either a built-in or plug-in slave. The Remote Trigger slips onto a standard camera hot shoe and has active range of about 30 feet. The Trigger will work outdoors but since it uses light, albeit infrared, its effectiveness will vary based on the brightness of the day. Tip: In addition to being able to trip monolights with built-in or external slave units, the Flashpoint Infra Red Remote Trigger will fire many shoe-mount flashes that have built-in infrared receivers.

If you prefer a radio-based solution, the Flashpoint 8 Channel Radio Remote Control Set with Transmitter and Receiver ($29.95) has a range of 90-feet and is unaffected by ambient light. Because it uses radio it will keep Uncle Harry from firing your lights at a wedding with his point and shoot camera. There are eight channels so each channel can avoid interference from multiple lighting set-ups that sometimes occur at proms or large charity events. An additional receiver for the system only costs $19.95

One of my favorite techniques for outdoor portraiture is backlighting that can produce beautiful highlights on the subject’s hair. The next time you plan to photograph somebody outdoors, place them in a position that you might normally use with the sun on his or her face and then turn him or her around! Right away the subject is more relaxed because the sun is behind her and she won’t have to squint! Next turn on your flash. Be sure to use it, otherwise the subject will appear to be a silhouette.

In order to get a final image that you can live with, you may have to open the lens a few stops over the metered exposure just as you might with any backlit subject. If you plan to shoot full length portraits instead of close-up, a more powerful speedlight will be more effective than the weaker pop-up flashes found on entry-level digital SLRs.

The above portrait was created using an Olympus E-1 with 14-54mm f/3.5 and an Olympus FL-50 speedlight used as fill and an exposure of 1/160 sec at f/8 at ISO 200.

The other widely used exposure method was based on the film’s ISO rating and the aperture f/16 aka the “Sunny 16” rule that is just as valid today as it was back then. Here’s how it works: To take a photograph in bright sunlight, the camera’s aperture was set to f/16 and the shutter speed is whatever comes closest to the ISO number. For instance, if you were using ISO 125, a sunlight exposure would be 1/125th of a second at f/16. The correct exposure for ISO 400 would be 1/400th of a second at f/16 but since most cameras don’t have a 1/400th shutter speed, the closest speed of 1/500th was used.

The ability to tweak the exposure, even with today’s sophisticated cameras, can make or break your image quality and content. I’m always surprised at the number of people who don’t care about correct exposure, using the worn-out cliche, “I’ll fix it later in Photoshop.” When exposure is concerned there’s only a partial truth to this statement. Adobe Photoshop can become a crutch for sloppy camera work but you still need to be careful in the arena of proper exposure. A digital image that is too far over or underexposed cannot be completely saved with image editing software. Please re-read the last sentence.

You can make minor adjustments to the automatic exposure settings while shooting, including using the any of the different metering patterns that are available within the camera and maybe even pull out a hand-held meter from time to time. My favorite tool for tweaking exposure while using one of the camera’s automatic modes is exposure compensation. No matter what camera mode, you can shift exposure to satisfy your creative needs to slightly over or underexpose the image by using the camera’s exposure compensation button that’s usually indicated by with plus and minus signs. It’s adjusted in positive or negative directions by some kind of wheel or control. I hate to be the one to break it to you you’re going to have to read your camera’s manual to find out how your particular camera accomplishes this function. Take a look at the Histogram from time to time. It’s not a perfect way to determine exposure but it’ll get you in the right ballpark.

There are as many ways of achieving a “proper exposure” as there are camera models so give one of these methods a try the next time you’re out shooting. Don’t just accept the camera’s automatic exposure (and then complain about it later) use exposure compensation to make it more than just another snapshot.

#1. Adopt a pricing/packaging policy that ensures that you’ll make money. This seems obvious, but too often new photographers will set their prices based on what their competitors charge without analysis their own overhead and out-of-pocket costs.

#2. People not only ask me how to establish shooting rates but when and how much to raise them. I always tell them to gradually raise your prices until you get some price resistance… then stop at least for a while. That’s when you’ve reached your market level. That’s why it’s important to maintain an up-to-date Rate Sheet and Schedule of Costs that you can show or even e-mail to potential clients.

#3. Most of your work will come to you over the telephone, that’s why being able to quote rates and prices quickly and easily is important. I think it’s a good idea to keep all your studio’s forms and product information in a binder (or maybe an iPad) so that anyone answering the phone can quote price and state studio policies to potential clients.

#4. Here’s one rule you should never forget, “every exception you make to your policies costs you money.” When someone tells you “give me a deal on this one shoot, and I’ll throw a lot of work to you in the future” don’t do it because it has been mu long, sad experience that that future day never comes. And if you do make an exception, know that this will cost you money.

#5. Don’t begin any assignment without a written agreement specifying what you’re going to do and what the client is going to do, including method and timeliness of their payment.

#6. Get advance payments for all your work involving on-location photography. Ask for a 50% advance on or before the day of the shoot. I think wedding photographers should collect 100% of the amount due before the big day. More often than not, once the loving couple returns home from their honeymoon, they’re broke.

#8. Don’t sign an agreement with anyone other than the party for whom the work is being done — unless you can bill that party directly. Some photographic consultants tell you it’s OK to wait 120 days to get paid but my banker disagrees. If you’re willing to live with that kind of payment schedule, so be it, but you should be charging a high enough rate to cover the time value of the money that you’re waiting for to finally arrive.

#9. Be original; don’t be like everybody else. When that happens it reduces your photographic services to the commodity level and commodity purchases are based on price alone. All photographers are different and it’s important that we express this difference to potential clients.

Joe is the author of the new book “Studio Lighting Anywhere”and “Joe Farace’s Glamour Photography.”

If you want to create a dramatic image, few things beat a beautiful sunrise that’s photographed in vibrant colors. The same scene photographed in infrared may be disappointing unless there is some great IR reflective subject matter—we’re talking about foliage here—to add interest. That’s because the “Wood Effect” (bright to white reproduction of the chlorophyll layer of deciduous plants in black-and-white IR images) appears strongest at low sun levels. This effect is not the named for the material wood, which does not strongly reflect infrared, but after infrared photography pioneer Robert W. Wood (1868-1955).

Exposure: 1/200 sec at f/10 and ISO 800

Here’s one of Farace’s laws about infrared capturing infrared photographs: If the lighting looks great for standard photographs, such as portraits in the shade, or a colorful sunrise and sunset, it’s probably not going to work all that well for infrared photography. But don’t just take my word for it; you need to experiment because you never know for sure what the results will be when working in infrared until you try. Shooting an approaching storm often makes a great “standard” photograph but I had a feeling that it would make a dramatic digital infrared image as well. The trees should retain some IR reflectance via heat and the storm clouds should add impact, right? Sometimes when you experiment you get lucky.

Exposure: 1/16 sec at f/16 and ISO 200.

Really, there are no ‘official’ subjects for digital IR photography. Sure, summer landscapes with leafy deciduous trees, lots of grass, and puffy clouds often make a great infrared picture. (Tip: Evergreens, like those Ponderosa Pines up here on Daisy Hill, don’t reflect as much infrared but depending on the invisible light will reflect some IR light. But don’t confine yourself to landscapes.

Some of the artists that are profiled in my book, “The Complete Guide to Digital Infrared Photography,” also like to shoot people in IR but I like to photograph cars, and made the above picture of two classic Jaguars (above) in Infrared with a camera converted by LifePixel. To insure sharp focus I set the lens using the hyperfocal distance and changed the camera’s exposure compensation to plus 1-1/3 stops to make the whites sparkle. Any subject is fair game if you want to produce digital infrared images. My  advice is to experiment to discover what works. You may be surprised at the variety of subject matter you can find for your IR photographs.

Using a strap not only makes carrying your camera easier, it increases your readiness to shoot. No fumbling around, just grab the camera and shoot. Even changing lenses is easier and safer if the camera is securely hanging around your neck. There is no right and wrong in strap lengths. The length of the strap should match your body (not the camera’s) and attaching a strap is not all that hard. Make it part of your standard unboxing procedure when purchasing any new camera. I’ll use the camera brand strap if I have to and while they’re generally better than nothing I prefer using straps such as Lowepro’s Transporter. It costs less than twenty bucks and the strap may be adjusted to a variety of lengths and has a detachable wallet for quick access to memory cards while shooting. It has two side release buckles provide quick interchangeability with another camera body while double ladder-locks ensure camera security.

I never liked hanging two cameras around my neck during a shoot because something always seems to go awry. The cameras end up banging into one another and in one infamous incident I set an SLR down on a table while photographing a beautiful model on a movie set and later bumped backwards into that same piece of furniture only to be greeted by the sound of crashing, busted metal and broken glass accompanied by the destruction of my EF 135 f/2.8 SF lens. Who needs that? CameraSlingers offers a camera strap that hangs two SLRs around your shoulders and whose clever design protects both you and your gear. In the above photo a heavier version of myself is trying one on at a previous PMA show. You can use whatever kind of camera strap suits your fashion sense, just remember to use one.

Before

Here’s a few simple tips that will help make your first glamour photographs a little bit better. For the before and after examples shown here, the lighting, camera, lens and background are exactly the same. In the after example, with make-up and some retouching, many of the above tips were applied.

1. Avoid flashy jewelry. Make your model’s face, especially her eyes, the focus of the photograph.

2. Have her wear solid colors. Nothing detracts more than clothes covered with busy patterns and prints.

3. Make sure her clothing fits. If a model’s clothes don’t fit, use clips or the old stand-by spring-loaded clothespins (out of camera range) to snug them up. And this happens more often than you might think.

After

4. Change Hairstyles. Ask the model to style their hair differently for each change of clothing to add variety to the session and the photos that she can have in her portfolio.

5. Expression. Some models look great with a smile, others look better without one. Shoot a few test shots each way and make a determination what looks best for her. It will be obvious, right there on your camera’s LCD screen.

6. Make-up. When changing hairstyles or outfits, ask the model to changes her make up style and color too. It doesn’t have to be drastic, maybe a different lipstick color or darker eye shadow. Red lipstick rocks. Ask her to try it.

7. The Right Footwear. For a more a statuesque posture, ask the model to wear her highest heels. No high heels? Ask her to stand on her toes for s few shots.

8. Just Relax. A glamour shoot is a team effort. Model and photographer must work together to achieve the best possible images.

Joe is the author of  “Joe Farace’s Glamour Photography” thats available on Amazon and your favorite book or camera store.

If few portrait subjects are perfect, no pose if perfect either! That means compromises are inevitable and any “rules” you here from me or anybody should only be considered suggestions to get you started in the art of posing. And it really is an art because it combines reality with what you and your subject can accomplish on any given day. As you get more experience, you won’t even think about posing, you’ll just shoot. In the meantime here are a few simple guidelines that have worked for me over the years to get you started.

1. Don’t pose heavier subjects square to the camera. Besides lacking dynamics, it just makes a person look bigger. And speaking as someone who just lost 50 pounds, this is a big consideration for your subjects.
2. When they are standing in a three-quarter view (to the camera) have then put all their weight on the foot/leg that’s farthest away from the camera. This should put them in a relaxed position but it doesn’t always because they may not relax in the formal surroundings of studio portrait.
3. Posing is  easier in an outdoor setting because they are in more familiar environment, even if they may not be familiar with the specific location. It’s the sky, clouds, and all that stuff that help a subject relax. Plus it solves one of the perennial posing problems: What to do with a subject’s hands.

Exposure was 1/200 sec at f/5.6 and ISO 200.

(Above left) Is there a bigger cliché than an attractive woman on a motorcycle? I don’t think so. Even though this subject is fit, her shoulder and waist are square to the camera making her look larger than she really is. No portrait subject will like this pose, so I kept shooting. (At right) Now her shoulders are still square to the camera but the tilt creates a diagonal line and her waist is twisted in a different direction than her shoulder. Her face is also slightly pointed away from the direction her shoulders are pointed. Looser cropping also helps place her body within a large context in the frame. Canon 5D with 135mm f/2.8 SF lens was used for both shots, with a Canon EX550 speedlite was used for fill.

Joe is the author of the new book “Studio Lighting Anywhere”and “Joe Farace’s Glamour Photography.”

I received an e-mail from a friend this morning telling me about a former newspaper photographer who has his own year long pro bono photo partnership. My friends comment s was that he hoped the person in question “picks some small non-profit in southeast Colorado, otherwise many photographers will lose more money should he partner with one of the larger non-profits.” His take was not only would this photographer be hurting himself but his fellow pros as well.

A TFP session with a Model is not free; it's a trade.

There is no more powerful word in the English language than free but while everyone knows free stuff is good, photographers have to realize there’s really no free lunch or any other kind of freebie. If you get something for free, somebody somewhere has to pay for it. One question I often hear from photographers competing against studios using freebies as inducements to new sales is “how can I compete with this?” You only have two choices and I prefer the second one. First, you can cave in and offer similar or better freebies to potential clients. This is a bad, bad idea because it starts a freebie arms race with your competition that can only end after one of you goes broke. Second, you can emphasize that your rates are lower because you don’t offer “free gifts,” an oxymoron as incongruous as “congressional ethics.”

It’s a business fact of life that clients like to feel appreciated and it doesn’t cost a lot of money to say “thanks” to them from time to time so don’t confuse freebies with expressions of appreciation to existing, supportive clients during the holidays. Around Halloween, Mary and I used to distribute small black boxes containing truffles from See’s Candies to our favorite business clients. The boxes had gold stickers bearing the studio name and phone number. By doing it in person, we also gave the clients an opportunity to discuss future projects under low-stress conditions.

Part of competing is knowing the costs of doing business and making that an element of your business plan. When I hear photographers moaning about profitability, I’m reminded of an encounter between noted photographer, Charles Lewis and someone attending one of his seminars. The gentleman asks Mr. Lewis, “I’m loosing $50 for every wedding I photograph.” Mr. Lewis looks him in the eye and replies, “You know what you need to do, don’t you?” Excitedly, the man replies, “Yes, I need to do more of them.”

Most of the time, “free” doesn’t work as part of a business plan, and using freebies to get new customers breaks one of Farace’s most unshakeable Laws: It’s hard to make money when you give stuff away.

To keep dry, be sure to pack a small umbrella that’s big enough to fit in your camera bag but it’s a good idea as is to have a rain cover for your camera. These are available free in most hotels and for some reason they are labeled “shower cap” but nevertheless they provide extra protection for your camera when the going gets wet. (That photo at the top of the blog —with the umbrellas—was made with an EOS Digital Rebel wrapped in a shower cap from a Tokyo hotel.) Some hotels even supply the caps in nice little boxes, so I usually put an extra one in my camera bag to “be prepared” for those soggy days.

The other side of image capture of travel photography is on-the-go storage. Here you have some alternatives: You can always copy images to your laptop computer’s hard drive then back them up to CD or DVD for safety. One of the problems with most laptops is they usually have relatively small hard drives, so I usually travel with one of Western Digital’s My Passport portable drives that easily handles all the knocking around that usually accompanies my trips. To minimize the whole “lost memory card” syndrome I download each day’s take onto it instead of the laptop’s drive.

When I get back home, I plug the My Passport drive into my Mac Pro’s front panel and copy the files onto one of its hard drives. Because I am a “belt and suspenders kind of guy”—I learned that from my Dad—I’ll also burn a CD, DVD, or Blu-ray disc of all the images from the trip to be kept in cold storage. Just in case…