50 photography tips from jobbing pros to famous

photographers
Advice. Its a funny thing. If we applied all of photographys apparent rules and dos
and donts to our work, there would be little, if any, room for creativity and surely
thats the point. So youll find no textbook photography tips here; instead we asked 50
top pro and famous photographers to share the secrets theyve gleaned from years of
shooting day in day out.
Expect to be inspired and challenged by the advice of famous photographers like
David Bailey and Mary Ellen Mark, as well as up-and-coming names and
photographers who make it their business to take amazing pictures for their clients
each day.

Starting below you will find numbers 1 through 25 from the list of jobbing pros and
famous photographers we interviewed, beginning with David Noton, Mary Ellen
Mark, David Bailey and ending with Thomas Marent. On page 2 of this article youll
find numbers 26 through 50, beginning with Eric Ryan Anderson, Pal Hermanson,
Damian Lovegrove and ending

1 David Noton
When I first got into photography I thought I could take my camera for a walk and
come back with stunning images, but of course I gradually realised that it doesnt
work like that. You can read about the technique until the cows come home, but
whats really the key is learning the tried and tested method of scouting a location,
previsualising the light, planning a shoot and finally returning again and again until
the conditions are perfect to create an award-winning image that will have your
friends and family frothing at the mouth.
It sounds obvious but it isnt. When a photographer first achieves this it really is a
Eureka moment. Life, and your photography, will never be the same again. The key
to constant improvement is innovation, practice, imagination, persistence and
crucially, learning from your mistakes. Believe me, at least two times out of three it
just doesnt come together. Dont beat yourself up about it; analyse why a shoot isnt
working and plan accordingly. Above all, enjoy the dawn and dusk vigils and stick at
it.
David is an award-winning landscape and travel photographer who has over 25
years professional experience.

2 Mary Ellen Mark

Be totally prepared when you shoot. If its a travel shoot, make sure you do all your
research. Find people where youre working that can help you sometimes it helps a
lot to hire a local assistant who really knows their way around. Keep detailed lists of
what you packed, so the next time it will be easier to prepare.
If youre working in a studio, make detailed technical notes. For example, note all the
f-stops, light outputs of the strobes, distance between the subject and background,
distance between camera and subject. Attach a copy of the final image to the tech
notes. I promise all of this will make your photographic life much easier.
Mary Ellen Mark is a contributing photographer to The New Yorker and has been
published in LIFE, Rolling Stone and Vanity Fair. She teaches at several workshops,
including a Halloween Weekend Workshop in NY and a ten-day workshop in Oaxaca,
Mexico.
3 George Logan
Before setting up and producing an image, take your idea and try to accurately
visualise the picture in your head, really imagine how your finished image might look.
Use this as a starting point then try to create an environment where you can allow
your vision to come to life using whatever it takes location, lighting, backgrounds,
models, props etc. However, dont keep things too regimented, build in a few
variables and definitely allow for happy accidents!
George is a multi-award-winning advertising photographer.
4 Colin Prior
Many photographers arent aware of the depth of field preview button on their
DSLRs lens mount. This is used to stop down the aperture manually to its working
size and allow you to see the effective depth of field. It also enables you to more
easily read the graphics of an image and acts as a real-time conduit between the three
dimensional world in which we live and the two dimensional world of photography. I
find it a far more useful aid than the screen at the back of the camera, which is about
as much use as a chocolate teapot.
Colin is an award-winning landscape photographer based in Scotland. He runs a host
of innovative tours and workshops, pitched at different levels of expertise and all
offering unforgettable experiences of wild places.
5 Nick Turpin
Like with many things in life, confidence is central to good innovative picture
making, having the confidence to be an artist, the confidence to experiment
technically and with ideas, having the confidence to make decisions and see them

through despite criticism and finally the confidence to stand out as unique in a
visually cluttered world. The most famous photographers of today have had the
confidence to be different, to lead the way rather than follow.
Nick specialises in advertising and street photography, and the founder of street
photography website, In-Public.

6 Bob Aylott
To never miss a street picture, always have your camera set to 1/250 sec at f/5.6, ISO
400. When the clocks change for summer, change the aperture to f/8 instead.
Bob is an award-winning former Fleet Street photographer who has gone on to
interview the worlds best shooters.

7 Brett Harkness
Practice, practice, practice and whenyou think you know itall, practice again. The
most important thing for me is to be at one with my camera, which in turn gives me
confidence. This confidence then exudes out to my subject,which comes back to me
through the camera. You get back what you give out
Brett is one of the UKs most in-demand wedding and social photographers.

8 David Solomons
Use a normal or moderate wide-angle fixed lens for shooting on the street. Telephotos
and zooms tend to encourage users to be less imaginative and active with their
framing and composition. I would say 90% of all my pictures were taken with a
35mm lens, it forces me to move closer to my subject matter and you get to
instinctively learn how far to stand away from it before you take the shot.
David is one of the leading lights in the UK street photography scene.

9 Alex Majoli
1. Read. My suggestions are: Amos Oz, Pirandello, Saramago, Musil.
2. Learn how to choose a good wine and know one or two recipes.
3. Walk 5 to 10km every day.
4. Read the Herald Tribune everyday.
5. Shoot a slide film every six months.
6. Be light on your equipment one lens and one camera and in your hotel/b&b/tent,

plus a back-up.
7. Buy good shoes make sure theyre light, waterproof and comfortable.
8. Dont try to understand things/people/cultures, before a trip.
9. Try not to organise your assignments too much before you leave home.
10. Enjoy photography, remember that its not a contest.
Alex is a multi award-winning member of Magnum Photos and has documented
conflicts in Afghanistan and Iraq, as well as covering other major stories.
10 Matt Cardy
Im often asked where I did my photography training and the simple answer is out on
the road. So many people think that to be a photographer you need to be sat in a
college classroom somewhere discussing other peoples pictures. Not that theres
anything wrong in looking for inspiration in the work of others, but as long as thats
what it does, rather than intimidating people into not getting out there and taking
pictures themselves.
No matter how good your theory and technical knowledge is, the best place to learn is
on the job. Often people see press photographers weighed down with gear and assume
that theyll be getting much better shots. With the advancement in digital technology,
sometimes its quite the opposite and Im constantly amazed by what amateur
photographers can produce, alongside professionals on jobs. Its a case of not what
you have got, but where youre at!
Matt Cardy is a news photographer for Getty Images. Find out how you, too, can be a
Getty contributor.

11 Aldo Pavan
Think about photographing what we cant see, that we can only imagine, either an
object or a concept. Can we photograph absence? Yes, we can. A portrait that excludes
the face of the person, hidden by a veil maybe, the dark silhouette of a person, an
object against the light or something strongly out of focus with absence we can
achieve more interesting photographs because the viewer has to become involved
with the images and use their imagination to fill the space.
Aldo Pavans books, The Ganges, The Nile and The Yellow River, are available
through Thames and Hudson.

12 Annie Griffiths-Belt
When photographing people, go simple and travel light. You dont want to be

intimidating or even very interesting. One camera, maybe two lenses and youre set.
Avoid camera vests or camera cases. I go out with just a simple backpack.
When photographing children, get on your knees. Pictures of kids are much nicer
when youre on their level and seeing things as kids see them. Its even better when
you can get the camera angle lower than the childs eyes.
Also, try to get a catchlight in the eyes of the person youre photographing. Simply by
moving your angle, or asking the subject to slowly move their eyes or gently move
their head, you can often get light reflecting in their eyes. It adds instant intimacy.
Annie is an award-winning National Geographic photographer and a Fellow with the
International League of Conservation Photographers. She has completed a photomemoir of her life called A Camera, Two Kids and a Camel.

13 David Loftus
I remember being told at art college: Always shoot with the sun behind you or to the
sides to avoid flare. Some of my favourite shots have been taken when Ive allowed
flare to happen fashion shots, portraits and interiors have all benefited on
occasion Keep some thick black paper and a roll of gaffer tape in your kit bag so
you can extend your lens hood into more of a funnel shape, so that the flare isnt too
excessive, and shoot away.
David is one of the big names in food photography, having worked with the likes of
Heston Blumenthal and Jamie Oliver. He shot Jamies last six books.
14 David Bailey
Its certainly worth remembering that exceptional photos all rely on a element of luck
and that luck increases significantly when you shoot a lot. When we probed David
Bailey for tip, his advice was: Everyone will take one great picture, Ive done better
because Ive taken two.
David needs no introduction.

15 Anna Kari
Once photography becomes a job its easy to lose the passion and fascination that
originally brought you to it! Its better to be an amateur who loves photography with
all their heart than a bitter pro who cant stop complaining how little theyre paid.
Figure out what you really want to shoot, develop little project ideas and get out there
and do it, and youll be in as good a position as a professionals to develop truly
personal and amazing work.

Anna Kari is a freelance photojournalist. Her work focuses on humanitarian issues

and she works extensively in Africa and Europe.

16 Andrea Jones
Theres simply no way round it start before the sun comes up and go to bed after it
sets. Thats if you want your pictures to have wow factor. Software programs are
wonderful but theres no human imagination that can dream up what natural light
can do. And theres no point getting to your location as the sun rises as youll miss the
moment. Recce the day before, preferably at lunchtime when theres no hope of good
light, and then be waiting for the first (or last) rays of the day. A tough regime in mid
summer but the experience is something that you just cant beat.
Andrea is one of the worlds leading garden photographers whos been published
widely, from House and Garden to National Geographic.

17 Annabel Williams
To me, a great family picture is one that makes a connection with the subjects. Select
a location that means something to the family and reminds them of a time in their
lives. Put the children in it and then capture what happens.
Annabel is probably the biggest name in photographic training in the UK.

18 Elliott Landy
At my appearances, people often come up to me to show me their photos and begin
our conversation with a caution that theyre not professional their way of telling me
not to expect too much. I tell them that the fact theyre not professional is actually a
badge of honour, because theyre doing it strictly for love and not for money.
I have known many people who take great photographs and live from other work. Its
almost better to do so because then your vision is kept pure. You take only the photos
you want to take, not what someone pays you to. Many pros wind up very distressed
after many years that their personal visions, blurred by the pulls of their assignments
has not been expressed.
Not infrequently, you see the personal work of well-known commercial photographer
and its actually not very good. Why is it not good? Because they have not had the
practice and feedback which life offers when you do your own thing, and then learn
from it. So if you can find a way to take the photos that you want to take, that is what

is important not whether you have earned money from them or not. Van Gogh, of
course, is the ultimate example of an unsold master. The main thing is to enjoy what
you do.
Elliot rose to fame with his iconic shots of rock musicians from the 1960s. His
portraits feature on the covers of many classic albums of the time, including Bob
Dylans Nashville Skyline.
19 Charlie Waite
The issue that so many of us often have is the whole business of composition. Dealing
with it in the abstract is never easy but Id say that the more that we invest ourselves
into the picture making process, then in theory we will attain a more rewarding result.
I often look to see where any conflicts lie and try and get the elements within the
image to appear to be related and not in argument with one another.The eye is very
discerning and can so easily reject an image for reasons many of us do not understand.
Try to inject your work with some gravitas and use light to your advantage.
Charlie Waite is the owner and founder of Light & Land, Europes leading
photographic experience company. Light & Land run photographic tours, courses
and workshops worldwide that are dedicated to inspiring photographers and
improving their photography.
20 Steve Bloom
Always remember that the camera is merely a tool, and no matter how good the
technology, nothing can replace the art of seeing. Great photographs are made by
learning technique and taking it to a point where it resides in the subconscious. After
that, feelings should dictate aesthetics. In other words, shoot from the heart.
Photography is like music or poetry, and is best created with heightened feelings. Get
excited be emotional about the photographs you take and try to feel empathy with
the subject.
Steve is one of the worlds most prolific wildlife photographers.
21 John Kenny
Try to think carefully about what happens to your images when they move from three
dimensions to two dimensions that is, your print or computer screen. Starting to
understand this change, and later predict its effects, can really advance your
compositions. Developing this skill can really help you capture light and be sensitive
to its effects on your subjects without being excessively influenced to emphasise the
obvious; helping you to look beyond those near/large objects or subjects that cry out
for your attention but often make less satisfying images.
An accomplished portrait and travel photographer, you can see Johns stunning fine
art work on his website.

22 Cameron Davidson
Finding your unique perspective is a good mindfulness exercise. To find your
distinctive viewpoint is to push your work further from the pack and helps you create
memorable images. One way to do this is to approach your next personal project with
one camera and one lens. If its a zoom, tape it to the 28, 35 or 50mm position. The
goal is to let your feet do your zooming and for you to move actively around your
subject until you find the position that looks right to you.
For me, its when everything aligns perfectly in the viewfinder to tell the story and
creates a graphic and hopefully, compelling image. It could be from on top of a wall,
or at street level. It may be shooting at one lens/f-stop combination at a certain
distance. But once you find your perspective, youll know its right and you will have
another tool in your kit that helps you create images that reflect who youre and not
just a record of what was in front of the camera.
Cameron is an award-winning aerial and location photographer who shoots around
the globe for the likes of Vanity Fair, National Geographic and Smithsonian
magazines.
23 John Freeman
Dont put off until tomorrow what you can do today. Having ideas I always found the
easy part, but executing them was a little more difficult. I was annoyed with myself,
to see years later, someone being lauded for a photographic concept that I had thought
of years before, but which I had kept in the to do tray!
John is an award-winning freelance commercial photographer specialising in people,
the body, travel and food, and hes the author of more than 30 books.

24 Miss Aniela
Experiment with photography and dont fret about getting everything right. Go with
the flow, dont get your head stuck in manuals, use them only as you would use a
dictionary dip in and out. Keep hands-on. Be inspired by other artists but always
develop personal ideas using your dreams as inspiration is a good idea! Dont just
reproduce a conventional image (such as a sunset shot) other than to get started.
Consciously try to be different and play with the rules. Listen to advice, but never let
anyone tell you what to do, or that youre doing something wrong. Photography is
an art, not a science.
Miss Aniela is a fine-art photographer and internet phenomenon. Shes exhibited and
presented her work at Palm Springs Photo Festival, Microsoft Pro Photo Summit,
Seattle and Tate Britain.

25 Thomas Marent
For me, combining the animal with the right background is very important, the
colours must complement each other. In most cases, a calm or blurred background
which should be in a darker light than the subject of the image will make the subject
stand out more. For this blurred background-effect in macro photography use a longer
lens of 100mm, 200mm or more. Another nice effect is to show the animal and plant
subjects as part of their environments. For this purpose you need a wide-angle with
close-focusing ability.
Thomas is a professional nature shooter whose first book, Rainforest, was published
in 2006. Its now available in 13 languages across 25 countries.
26 Eric Ryan Anderson
One piece of advice I wish Id received when I was starting out is in a culture
inundated with instant gratification, practice patience. Be patient when setting up an
image: wait for the best moment, not just a good one. Be patient in your editing
process: dont always rush to be the first online. And be patient with your body of
work: building a good portfolio simply cant be accomplished overnight. It requires
years of experiences, opportunities, travels and patience.
Eric is a self-taught commercial photographer who lists MTV, Italian Vanity Fair and
National Geographic Travel in his client list.
27 Tim Wallace
Develop a style marketing people and agencies are very aware of the photographers
that are on the circuit and dont want to see work thats an obvious copy of somebody
else, it shows a lack of imagination and after all great photography is 90% creative
and 10% technique. A good photographer can get a tune so to speak out of any
camera Be honest to yourself and experiment, dont let people tell you it cant be
done that way, it usually means theyve tried and failed and just dont want to see you
achieve it.
Be inspired by Tims commercial and advertising photography, specialising in
automotive.
28 Morten Hvaal
How do you get people to ignore you and the camera? I get asked that a lot, and the
answer is: Im rather strange!
Good candid photography necessitates being a psychic bore. It basically means sitting
quietly in a corner, not staring at people, not smiling back at children, and so on. Not
distracting your subjects by aiming a large ugly camera at them means being able to
pre-visualise the finished photograph, making all the right settings on the camera

while its hanging over your shoulder. Then its back to being a bore and waiting for
the right moment.
Morten is an award-winning documentary photographer who has covered major
conflicts and worked with UNICEF and the Nobel Peace Centre.
29 Lee Beel
The two questions that Im asked most often are what camera do you use? and
what camera should I buy?. Of course, a quality camera body will deliver great
images but its better to have a great lens with an average camera than the other way
round! If you have a budget for a DSLR and lens then blow most of it on the body and
compromise on the lens, youll regret it!
Lee is a widely published freelance photographer, with numerous magazine covers
under his belt.
30 Clive Nichols
The question I get asked most is: how do you get into such amazing gardens when
many are privately owned? The answer is simple I spend a lot of time visiting
gardens that are open to the public, especially those that open under the charity known
as The National Gardens Scheme (NGS). If I like the look of a garden, Ill have a chat
with the owners, explain clearly to them that Id love to photograph their garden for
magazines, books, calendars etc and see if theyre open to the idea. Once I have their
confidence, Im often able to return to the gardens at dawn or dusk the optimum
times for atmospheric shots.
Clive Nichols is one of the worlds most successful flower photographers. He sits on
the RHS Photographic Committee and is a judge for the International Garden
Photographer of the Year competition.
31 Kevin Fern
If youve taken a shot of a person and walked away thinking damn, I should have
taken it the other way, then dont be afraid to turn around and go back and ask for
one more quick picture. If you have to, just make up an excuse and say the camera
broke!
Kevin is a popular freelance photographer specialising in news, commercial images
and weddings.
32 David Creedon
Always carry a tripod, not just in low-light. Yes, theyre heavy, cumbersome and slow
everything down but thats the point using a tripod makes you consider every shot.
Your work will get better. Mine did. Handholding just makes you miss shots that
would have benefited from being composed properly. The only exception is if Im
shooting streets and occasionally for some portrait work.

Davids documentary photography project, Ghosts of the Faithful Departed, has been
widely published in a rangeof prestigious magazines. He has exhibited around the
world and received a runner up award in the Prix de la Photographie, Paris.
33 Guy Edwardes
Dont always rely upon a tripod for support when shooting landscapes with lenses in
excess of 200mm. Where practical use a large beanbag instead. This can support the
whole length of the lens and will eliminate vibrations caused by the mirror and shutter
action as well as any wind induced vibration. It works particularly well when using
shutter speeds of between 1/125th and 4 seconds (and longer in windy conditions).
Keep your beanbag filled with a weighty substance such as grain, rice or
polypropylene granules. If you cant find a suitable spot from which to set up a
beanbag then place it on top of your tripod, as its the tripod head which is normally
the weakest link when it comes to supporting long lenses during lengthy exposures.
Guy is one of the UKs best scenic togs.
34 Pl Hermansen
All nature photo books still emphasise that the use of tripod is essential to achieve the
best results. And wherever you see a nature photographer, you see a big lens and a big
tripod. Okay, the advice was reasonable in the years of 50 ISO Velvia, but now, when
high ISO and stabilisers have taken over, its time to claim the opposite dont use a
tripod other when you really need it, such as during long exposures.
Get rid of the tripod, and youll see better results! There are at least three benefits: 1)
Youre more mobile and can catch the crucial moment, such as subjects moving
quickly. 2) You save time and can try out alternative compositions easily.3) You get
rid of a heavy burden.
Pl has been working as a freelance photographer since 1971, and his nature images
have been published in National Geographic Magazine, Conde Naste Traveller, GEO
and Stern.
35 David Clapp
One of the mistakes photographers make when building their own commercial
landscape library is to continue shooting for themselves and not their clients. One of
the hardest things to develop is the mindset of a graphic designer as it goes against
everything learnt about composition. But leaving blank spaces, photographing clear
skies and even emptiness itself can be the key to selling more imagery than a
personally satisfying shot could yield.
David is a landscape and travel photographer who is a contibutor to Getty, as well as
many other photo agencies and sells work directly to clients worldwide.

36 Fabio De Paola
Always try and think of different ways to light a subject and be prepared to use any
source. You dont just have to use available light and flash to light a portrait it can
be lit by many other sources such as a torch, a candle or car headlights. These
instances can be forced upon you when no other options are available, be it at night, in
a dark room or when theres no time to set a flash up and time is limited.
Fabio is a freelance photographer based in Nottingham whose work is frequently
seen in The Guardian.
37 Damien Lovegrove
One of the most important techniques I use to learn about lighting is the process of
deconstructing other photographers pictures. I keep tear sheets from magazines of the
fashion pictures that I like and I analyse every bit of light in the scene to work back to
the the original lighting set up used. I study shadows to see if the light sources are
hard or soft, I look at the direction of light sources and I imagine the scene without
any added light. Then I work out how I might have lit the shot and what would the
result look like. Its a bit of a geeky technique but Ive learned so much from the great
photographers of our time this way.
A former BBC cameraman and lighting director turned wedding pro, Damien runs
popular training courses.
38 Mark Humpage
The most frequent question that lands in my inbox is not the usual how do you do this
or that (although I do get a lot of these!), but quite simply How can I make a few
quid from photography? My tip is to sell your photos to a news agency its become
the single biggest earner from my photographic work. By forging a relationship with a
national agency (such as SWNS or APEX) your images can bring in surprising
amounts of money. With my own work Ive almost become paparazzi of the natural
world.
Youll need to contact the agency, send a story photo and then let them market your
photo to all the national newspapers. If it gets used then you receive a cheque in the
post. Its surprising what constitutes a story photo and how easy it can be to get your
photo inside a national newspaper.
Remember that someone, somewhere is always in the right place at the right time.
Should you witness an unusual or eye-catching event, theres a good chance it can
make you money. National newspapers are always looking for good stories and
images such as strange holiday snaps, weird weather or festivals.

Mark is a seasoned Stormchaser and ambassador for Olympus, as a professional

elemental photographer.
39 Haje Jan Kamps
Its surprisingly difficult to get useful feedback on your photographs. Thats pretty
or I love her eyes are nice to hear, but arent going to improve you as a
photographer. Whenever I ask people to critique my work (and when I critique others)
I ask them to complete these sentences: This photo makes me think of, I think
this photo is about, Technically, I think, What I like about this photo is,
If I were to improve anything, I would By using a simple framework, people are
forced to give feedback you can actually use.
Haje is the man behind the popular Photocritic blog.

40 Tim Fisher
Be creative! Obvious advice, I know, but how many galleries do you visit a month?
Drink in the visual arts (get drunk on the stuff!), be it sculpture, paintings,
photography, architecture, textiles, you name it. Many are best viewed in a public
space & not necessarily in book or magazine form.
At home, how often do you take an A4 sheet of tracing paper and overlay a page in
say Tatler, Esquire or Marie Claire & then draw all the triangles, be they equilateral,
isosceles or right angled. How about rhombuses and rhomboids? What about the
rectangles and the squares? Youd be shocked how everything great in photography
seems to distillate down to geometry, so try it!
Tim won first prize in the Automotive category of 2008s Prix de la Photographie,
Paris (Px3).
41 Dave Butcher
Keep images as simple as possible. Have a strong centre of interest, maybe with a
strong foreground to set off the image, too. Avoid distractions or too many eye
catching elements within view, slow down and check around the edges of the image to
make sure nothing unnecessary or bright is included in these areas before pressing the
button. Use a tripod to enable full use of the camera settings, such as slow shutter
speeds and small apertures for full depth of field; blurred foregrounds can be very
distracting.
Dave is a fine art black and white specialist and an Ilford Master Printer. See more of
Daves photography.
42 Richard Lee
Know your equipment inside out to maximise its potential even if it does mean

reading the instruction manual from cover to cover its surprising how many pro
photographers still come up and ask me how to perform basic functions on their
Nikon D3. Also, after having the safe shots in the bag, dont be afraid to try
something different.
Richard is a freelance photographer with over 10 years experience in news, sport
and feature photography. See his varied professional portfolio.
43 Svein Bringsdal
I wish that someone would have given me the following advice when I started
shooting 14 years ago. Its easy to try to copy other photographers and make your
shots look like mainstream professional photos. Forget it! The best-known pros have
their own recognisable style. If you want to stand out, do it your way! Trust yourself,
and believe in your style.
Svein is a top fashion photographer working out of Bergen, Milan, Paris and London,
and the publisher of Norwegian fashion title, Sva magazine. Visit Sveins new website.
44 Russell Lewis
If youre planning to produce a composite image, the key word is planning. Sketch
out a storyboard and plan the stages of shooting before you even consider removing
the lens cap! Plan each element of the composite so that it remains balanced in the key
aspects; strength and direction of light and shade, depth of field, shooting distance etc.
If youre planning to treat the final image, do all of your layering work before
applying the tweaks.
Russell spent almost 30 years as a graphic artist, the past ten working for F1 team
and sponsors, and is now building a name for himself as a creative commercial
photographer.
45 Ron Moes
When photographing portraits, dont try and act the clown. Although you need to
make your portrait sitter feel at ease and forget that theyre being photographed, stay
in control. Be confident about your camera and lighting settings. If things are going
wrong, dont let the subject know sell it as an experiment you were trying
Ron Moes is an award-winning wedding photographer based in the Netherlands.
46 Emma Delves-Broughton
If youre dealing with models you have to think of all the things that could possibly
go wrong and be prepared for them. Its often something minor such as a false nail
coming off, to something major such a model not turning up. I always like to speak to
them a week before, and the day before the shoot, to check everything is okay, and get
them to text me when theyre on the train, or about to set off in the car.

Emma is an in-demand fetish and fashion photographer.

47 Laurence Baker
You need to be (and I hate this word because Im sick of TV chefs using it all the
time) passionate about what youre doing and you need to know something about
your subject. Its no good waking up one day and deciding youre going to be an
architectural photographer for instance and not having the slightest bit of knowledge
about it.
Laurence is a freelance photographer specialising in rock star portraits.
48 Ben Birchall
If your pictures arent good enough, youre not close enough. That saying is so true.
Filling the frame gives your images maximum impact, leaving no room for
distractions. Forget standing back and fitting longer lenses, the effect just isnt the
same. Taking a step towards your subject will always result in much better
photographs as it forces you to interact and engage with whatever your shooting.
Ben Birchall is an award-winning press photographer and ex-DC staffer.
49 Lee Pengelly
In my workshops one question Im asked regularly is: How do you know what to
shoot? when we arrive at locations. Planning is the key. Having a predetermined
viewpoint and arriving when you know the lights at its best will improve your hit rate
no end. Plan for things like tides and sun position.
Lee is a successful freelance shooter specialising in landscapes.
50 Kevin Poolman
If you want to earn money from your photography, I think its important not to
squeeze too many jobs in. Its important to spend more time keeping your regular
clients happy, rather than dropping these for the one-off better paying clients who
inevitably pop up, when youre already booked. Its crucial to maintain a steady
income and keep your regulars coming back to you. Its also worthwhile buddying up
with another few photographers with whom you can share work with, when one of
you is booked.
Kevin is a popular freelance press and PR photographer.