One thing that I discovered during my experience with digital photography, after 20 years of shooting film, and I teach at this point all the numerous seminars that have been in hundreds of other professional full-time, digital photography is that it is very well suited to the portrait photographer. So why are we the last to jump on the band wagon? Many commercial shooters have known and mastered the use of its digital activity for much longer than the portrait photographer. My guess is that we are afraid. Fear of the learning curve and I fear that the quality is just not there unless they spend an ungodly amount of our hard earned cash in some scary looking gigantic series of confusing and impractical, not to mention "how will I learn Things to use this "team. Truth is, you can get away with as little as a 3.5 megapixel camera. I know, I used my Canon D30 for the first eight months of my trip digitally. This camera created more memories, more sales and more wall portraits that I never imaginable. Whoa, wait a minute that you say, carpets? There can be! When I seminars routinely show many large samples wall in full view of everyone, with some of the biggest signs that he created with the 3.5 megapixel camera, and the reaction I get is usually disbelief. Listen. The quality is there. I tried over and over again and I know that anyone can reproduce the same results. Yes, even with a 3.5 megapixel camera. You have an open and close to beware, that's all. We have a collection of images in our study, even large tapestries caught with our dinky little D30, and who are "drop-jaw" impressive. I know of other photographers who have had amazing results as well. I know that it works and the file size is secondary. There are many reasons, but I work with the master list. Here are: * Quality. The quality of the captured images with a high optical quality, well exposed and well-raised is more than enough, even if you strip JPEGS. Yes, JPEGS. Over 90% of the more than exhibitions 30-40000 put my camera through all the years is the way to shooting in JPEG. Why? Why anyone in their right mind shoot in this kind of "low quality" mode? The answer is simple: it works. I like to compare the shooting of JPEG picture film. It was slightly softer (but not even noticeable to the human eye) and silent, ideal for skin tones, right? Furthermore, the slap "softar" filters in front of these outrageously expensive lenses and further degrade the image. Do not bother. Shoot with a good lens, in JPEG mode, display properly, raise and create as usual, and we all come together. Add any effect later. See what else portrait photographers have been doing with regard to their finishes in addition to the degrading images of the image "softars." We tweak the surface of the print, sometimes heavily. We mounted canvas. Add texture sprays.Oils. Linen rolled ... And continues. My point is simple. Portrait photographers do not need to create the very acute, the highest resolution images available. If they have in the past, it always has degraded the image through these other means. Which is rather ironic, no? You can still shoot in RAW, if you wish, but it is not really necessary. If you need the absolute highest quality image capture would have been shooting with Kodachrome 64 or Velvia by 4 "x5 camera. But no. JPEGs work. Many I have 30" prints, and even a 70 "print, Que was captured in JPEG format. And they are incredible. You can too. * Control. People want their photos quickly. We live in a world in unity-and minutes count. In our study we can create a slide show for our meetings and we show to customers within 20 minutes of each branch. Customers love it. They get to see the results instantly. If this struggle is essential in the fight against human nature. We want, want, want, and what we want to see sooner than later. Sales go up, the client is already in the studio ready to see the images, and willing to spend. Its abundant evidence that when displaying images before, and to create large images projected, which is a bread with digital sales rise. Digital gives the portrait photographer more control over the sales process, and ultimately, that means more profits. * Retouche. Let's be realistic, people want to look good. What once took hours and a lot of aggravation with spray booths, smelly and dangerous lacquers, it is now possible with ease. Even when I decided to farm all my editor because I had had enough, it still took weeks or months, and large bills retouching. Not to mention the loss of control he had over aspects of retouching. It is up to the subjective interpretation of the artist retouched to enhance the images of the way I wanted to retouch. Now, with some basic knowledge, and all the years of experience of retouching all transferred to the new darkroom, my computer, I can easily tweak to any degree that I like. In just minutes. With all surprising results. This ultimately leads to the satisfaction of a basic need that must satisfy our customers, their vanity. They want to look good, and they want quickly. * Innovation. I could go on for days when it comes to what the new products, ideas, services, sales processes, packages, etc., etc. .. I have been able to create, because of digital photography. Suffice it to say for now that I am excited and live with my passion for photography and on the possibilities. When you apply the power of digital technology, and get a handle on it in your workflow, you can create new and exciting products like never before. What I have seen and experienced every week in our busy little town study. The ultimate test is reduced to the net profit, right? After all, we are in business first, the creators and, secondly, right? Right? Are you with me on this? We are in business to make money and survive. We need new and exciting angles, ways to stay afloat, so we can pay our bills, keep bankers happy and provide for our families. Nobody can predict how it will be total precision digital photography, ultimately evolve, but my bet is in dollars with it all the way. I am not taking any chances. I remember when nobody color film and paper was presented as a major commodity? I do not, I was just a wee lad, but I have heard many stories about the study of the owners to close their doors and on the packaging because they did not want to keep up with demand and the latest film fashionable color and color Added paper has. Dinosaurs. Every one of them. His loss, all because of a thick head and badly guided egos. Not being a dinosaur. My most important discovery: Who is the real expert! Ultimately, the real expert in our business is not ourselves, or our fellow men. The customer is the real expert. They open their hearts and their wallets and fork over hard cash earned by the memories we create for them. Would you mind if it is shot in the JPEG? In RAW? Will Care if we use the bigger, better, stronger, faster and the software of computers? Of course not. Upon reaching their clients in the head and listen to the conversation that follows these things are totally irrelevant. Much more important to her and to us, is the basics of good photography. In a whirlwind of technological change nothing seems to be never the same. Truth is, the basics of good photography will never change. That's where everything starts. Maestro and you have 99% of their challenges mastering digital photography.
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