Skin in the Game

Whenever photogs start conversations with me about their gear, their studios, their work, or any other such thing, I get a lot of questions. Once we get the normal fun stuff out of the way (new gear, new shoot locations, new software, new this and new that), we eventually settle down into more serious topics that I don’t see discussed a lot in most outlets. These conversations usually take one of two paths:

  1. Shoot time versus business time
  2. Shoot time versus continuing education

While each consideration is valid in its own right, my problem as I have these conversations more and more is that photographers are always look at them in an A or B scenario. The truth of the matter is, nothing ever really occurs in a vacuum. We can have conversations that start with the platitude of “All else being equal…” with the best of intentions. But, if you think about it, do things ever happen like that? Of course not!

So, why do we always look at A versus B scenarios? A successful photographer is best served (at least I think), by considering all three of the above facets at the same time. The same holds true in other sectors too. You have to spend time in all three or else you will find one (if not more) of three things happening:

#1 – You Stop Shooting

If you stop shooting, you get rusty. You get out of practice. You forget how to do some of the advanced things that got you to where you are in the first place. Mastering your gear means staying on top of it, and like anything else in life, you either use or it lose it. There’s no two ways about this. I’ve heard people say that shooting is like riding a bike – once you learn, you never forget. While there may be a modicum of truth to that, I can promise you that if you’ve not ridden a bike in ten years, your first few outings may be a little wobbly. You may have the basics down pat as that part is rote, but the rest only comes back with continued use. The same holds true across any discipline. This is why the best athletes in the world are training year round (there never really is an off-season for NFL, MB, NBA, or NHL players. They are the best of the best because they are always practicing.

Whether it’s football, baseball, basketball, hockey, or even cycling – the serious ones are always training:

#2 – You Stop Marketing

If you don’t spend any amount of time marketing, promoting, and working on the business side of things, you may be one of the best shooters in the world, but no one is going to know you very well. It’s one thing to tweet and Facebook or Google chat with your friends and colleagues, but it’s another thing entirely to cold call or submit proposals to businesses for photographic needs. If you don’t submit your work or get any buzz out there about your work to other businesses on a regular basis, then you are likely leaving business opportunities behind. Clients don’t just line up at your door waiting for you to answer, and while some may fall backwards into prime opportunities, most only get there with hard work and persistence. If you stop being persistent in your business, then it won’t be much of a business. So, keep at the business side too!

#3 – You Stop Learning

Probably one of the most needed, least justified, and most difficult things to address is continuing education. It’s ongoing, never ending, and sometimes the most difficult thing to address. I’ve seen so many photographers who have reached a certain degree of skill and success who fall into this trap and think “Who is gonna teach me about software or composition? I know what I’m doing!” The ego is a fragile thing for photographers, and its important to be cognizant of this. If you close your mind to learning new things, or consider learning resources as ones that are “beneath” you, there are likely opportunities being left behind. The best example I can think of here is the film to digital transition. Many film shooters failed to recognize the benefits of digital and these old school success stories became the ones trying to catch up once the worm had turned and everyone was going digital. Early adopters were able to stay current and stay relevant. Stragglers are now struggling to keep up.

If you don’t stay current, and don’t keep fine tuning your talents (because we are always learning no matter who we are), then I promise that you will begin to fade. Not learning also means that you are not staying on top of new trends and needs of the market. It’s important to do things like attend seminars, workshops, and to read! (Yes, I said read!) There are so many resources out there that it can be tough to whittle things down to the best resources to learn from, and while some are better than others, there’s good material out there everywhere.


So, whether it’s shooting time to keep your skills up, business time to keep things afloat, or learning to stay on top of new and trending markets, it’s important to balance all three of these. Do I have a magic number or proportion that will fit for everyone? Of course not – this formula is not a static number, and will change depending on not only the person, but where you are. If you’ve spent the last 4 years in a photo school, the practice and education are likely good for a while, but the business needs attention. Likewise, someone who’s at the five year mark may need to consider getting in a few workshops or conferences to get up to speed on current trends and market shifts.

What formula do you need? Only you can really know what the best thing to focus on next should be. The important thing though is to make sure you keep your skin in the game – on all fronts! Where you go from here is up to you, but hopefully today’s post has given you food for thought!

With that in mind, what are your thoughts? Are there other factors here? Sound off in the comments with your own ideas on how to keep current and stay afloat. As is always the case, you gotta keep shooting, so don’t forget that part of it, and we’ll see you back here next time!

How to Hold your Camera – The SLR

A while back I was up at Maroon Bells in Colorado, anticipating the peak of the fall colors.  The lake there at the base of the Maroon Bells has become quite an idyllic scene for photographers of all levels to aspire to. So, I was not alone when I was there.  Quite the contrary. The place was loaded with literally hundreds of photographers, bot from Colorado and even from places as far away as St. Louis (from those I talked to anyway).

One of the things that struck me was that from all the expensive gear out there, I saw many many people holding their cameras wrong. It honestly seemed like they knew more about the gear than about taking and making pictures.  What do I mean?  Simple. You can know all about the technical aspects of gear. You can learn what the maximum ISO settings are. Even get rock solid on frame rates, crop sensors, and all that techno-jargon pretty easily.  All it takes is an internet connection and some time to memorize the numbers.  But what you can’t learn online is good photography techniques.

Proper Holding Techniques

So, how do you hold a camera?  Excellent question!  This has been covered by many in the blogosphere, and inevitably, someone will likely say refer to Joe McNally’s “The grip” video.  In this video, he talks about shooting hand held at slower shutter speeds, and introduces a grip technique for left-eyed shooters:

It’s got some great pointers in there, but many can get distracted by the “low light shooting” and the “left-eye shooters” concepts.  Rest assured, there are elements of this whole approach that are universally applicable.  Here’s some simple pointers:

1.  Keep your arms tucked in – letting your arms go outside past your core body introduces instability…never a good thing when hand-holding.

2.  Unfortunately for left-handed shooters, the camera vendors have designed cameras with the grip on the right side.  This is the part where your fingers curl around the camera body, so just make sure your right hand is curled there.  Most everyone gets this right…the part where there is a lot of variation is the left hand!

3.  Keep your left hand under the camera and resting on the lens.  Resist the urge to bring that left hand out to the side to turn the dial for zooming…you can do it with your hand on the bottom, and this way, you are providing more stability to the camera.  The other upside is that by keeping that left hand under, you are also keeping your arms tucked in!

4.  Stop using the LCD/Live Preview.  I know, we all like a big screen and the bigger the better to see your shots…but so many people are migrating to using the live preview (especially when the camera has that articulating screen), and it’s introducing bad techniques.  When you use the LCD screen – what happens?  Your face goes back or your arms go out, and the camera becomes unstable.  Keep using the viewfinder for as long as the vendors keep it on the camera!  Keep your face planted up against that camera body…it helps with that whole stability thing!

A great way to test this is to take a shot using good technique and an identical shot using..well, a not-so-good technique.  Compare the results and see what produces better results!  Of course, some will likely chime in and ask “What if I don’t have an SLR?”  That’s a great point, so if that describes you – make sure you come back later when I talk about how to hold a point-and-shoot camera (and a camera phone tutorial is coming too!) 🙂

Or, if you can’t wait to read the text (because let’s face it, we all wanna binge watch stuff these days anyway…)

and here (for the smart phone technique):

Major Crash

Hello all,

As you can likely tell, CanonBlogger has suffered a catastrophic crash from the web server that was hosting all the wonderful content for the past nearly ten years. It’s going to be a while before I can resurrect things – and not sure how much I will be able to restore, so please be patient. In the meantime, if there are any WordPress gurus out there, or anyone that manages a web server that could give me about 50 GB of disk space to help out until I can get my own LAMP environment set up at home, any and all help would be appreciated.

More to come soon (hopefully!)

Why Scott Kelby and Crew are Wrong

It was brought to my attention over the weekend that Scott Kelby chimed in on the pricing and policy change that Adobe has implemented on their latest episode of “The Grid”.  It’s a great vidcast that hits on the meat of topics that photographers are talking about, and this episode was no exception, helping to dispel some of the myths that surround photographers.  What I want to talk about here is what they prefaced the show with: a short five minute blurb about the Adobe policy, and what’s wrong/right with it.  I was dumbfounded.

Fair warning – this is a long post….much longer than what I normally post – but it’s that important!  Please take the time to read this whole thing because you will have a complete and clear understanding of these odd terms like Subscription Service, In Perpetuity,  and Creative Cloud.  You’ll understand the differences, and see why the new pricing scheme is not a good decision for anyone – personal or professional businesses!

So, in the interests of getting it right, I went back and listened to it several times, finally writing a transcript of it (which you can read here.  Here’s the nuts and bolts though of what they had to say…

[Scott] And that’s my guess.  I haven’t talked to Adobe on this.  Nobody in Adobe’s pricing dept. said this.  I can imagine the reason why Adobe did this is a couple of things:

1. I…and this is where all the controversy is, I don’t think it’s the pricing so much, I haven’t heard anybody gripe about the price it’s like $50 a month and you get everything they do. You get everything, right? You get like the whole Master Collection.  Again, I didn’t look at all the numbers, so I don’t …I could be a little off.

[Matt]  It’s ballpark and if you add up what it would cost you to buy the Master Collection, it actually in some ways can save you money.

They are looking at the Creative Cloud service, not the subscription pricing.  Let me state that again, unequivocally:

They are confusing the subscription model with the Creative Cloud stuff.

These are two different things, so let’s get that on the table right away.  The subscription service is not $50 a month!  What’s the difference?  It’s easy! A subscription service is something you pay a small amount for every month (or week, or year…whatever, you are a subscriber.  How is that different from the current licensing?  The current licensing (whether by download or media – it doesn’t matter)…means you own that license forever.  In legal terms, it’s called an in perpetuity license.  You’ve bought that license and are entitled to use it forever!  Renting a house (or apartment) is far more expensive than buying one.  Renting (or leasing) a car – the same.  Would you rent a camera?  For one time uses, sure…but who wants to use that model if you plan on doing anything regularly?  The answer:  no one!  From Adobe’s perspective (or any provider for that matter), it’s a great business model because it makes the renter more money.  The same holds true here for Adobe!  Don’t believe me?  Take a look…

We are assuming that we are starting from an upgrade perspective – people that already own a CS5 license.  The following chart is based on the cost to upgrade an in perpetuity license (assuming that doesn’t change…) and shows what that same cost would be under the subscription model based on a 24 month cycle:

Adobe Pricing Licensing Numbers

An important qualifier here – Adobe is also moving to an alternating schedule whereby dot releases are put out in alternating years to full version releases:

CS5 – 2010
CS5.5 – 2011
Cs6 – 2012
CS6.5 – 2013
CS7 – 2014
etc.

This is why you are renting on a 24 month schedule.  It’s also why there is no way that renting anything would cost you less.  They said they hadn’t had the time to look into it.  Several others have.  In their defense, the 5 minute bit was full of qualifications – Adobe didn’t tell us, we don’t know, we can only guess…all that sorta stuff, which is fine in and of itself.  But how can someone say with a straight face that renting costs less than owning?  Seriously.  Take any basic business course or economics course.  The pricing factor aside (which is already been demonstrated as exorbitant…) at the end of renting – you own nothing!

How is the subscription model a better model for anyone besides Adobe?  Scott and crew answered with the following:

“[Matt] The biggest problem I see, there’s gonna be a barrier to entry for someone who is on Cs3 or CS4.

[Scott] Especially hobbyists

[Matt] That’s who I’m really talking about.  For a company I think…it’s not just better for Adobe…to put in a subscription model because now they know how much they are gonna take in every year…but now a company knows exactly how much money you’re gonna spend each month on software.  So it’s easier for a company.

Hobbyists though, ya know, it’s hard to swallow six or seven hundred dollars…

[Scott] A year…

[Matt]  And then go into the subscription model too…

[Scott]  Oh no no…you’ve gotta upgrade…it depends on what you have…if you have the Suite..I don’t know…

[Matt]  It does get, it can get hairy…”

As you can see – it’s not that hairy – it doesn’t matter what you own: CS2-Cs5 will cost more to go to a subscription model than it would to stay on an in perpetuity license.  One more time for clarity, here’s where Scott Kelby and Crew got it wrong:

They are confusing the subscription model with the Creative Cloud.

Not only is it not that complicated – even for businesses, it’s very easy to extrapolate out the Total Cost of Ownership over time and see how this is not a good economic move for anyone (unless you are Adobe).  With all due respect to Scott and crew – I would ask them if they will switch to the subscription model?  My guess is no.  They also provided, in my estimation, a pretty lame explanation for why Adobe is changing their policy.  Here’s what they said:

“[Scott]I’ve been getting so many people asking about Adobe’s new pricing and all that stuff.

Adobe does not call us and ask what we think about pricing.  We learned when everyone else did.  I haven’t had any time to really look into it.  I think there are some good things about it.  I think the subscription model is really great, and by the way, you might as well get used to the subscription model, because it’s the wave of the future. You’re going to be subscribing to everyone’s software.  Especially when the big people like Adobe start moving into that thing.  I think the days of you going to the store and buying off the shelf – it’s either going to be direct download or it’s going to be subscription based.  And everyone wants the subscription model because it gives you revenue all year long ya know

[Matt]   Well,  it’s predictable they know Jan through December what they are going to get.”

Huh?  So they can get revenue year round?  They do already!  Different folks buy at different times…it’s called effective management of resources.  This isn’t about regular revenue – it’s about more revenue!  And we all know Adobe isn’t hurting.

That isn’t on the NAPP gang though – that’s just Adobe greed.  But I do think where Scott and crew are misunderstanding the outcry is that they think we are upset over the subscription offering.  It’s not that we are against the subscription offering per se.  It’s the exclusive and disingenuous way that people are being set up into that option.  Let me state more unequivocally what I think is wrong:

1.  The sudden elimination of 3-versions back upgrade options.  The solution to this is rather than just cutting it off immediately, to phase it out.  (This was posted in the comments from last week here.)

Since there was no major outcry when Adobe said that only 3 versions back could upgrade you would think that if they wanted to do this to go 2 versions back for CS6. Then they could offer a graduated sliding scale something like this:

Upgrade 2 versions back. Upgrade price $189.
CS3 and CS2 Upgrade at $249.00
Older Versions Upgrade at $329.00

Every Quarter or so offer older versions a 20% discount if purchased directly from Adobe.com

2.  For those that want the subscription program, fine, but I am here to tell you from a financial perspective:  It is a horrible idea for anyone…personal or professional!  The TCO is 4x what it would be for an in perpetuity license, and if you ever end the subscription program for yourself or your company – you have nothing left to work off of. It’s like renting.  For most outfits, that makes no sense for any software (or hardware) used on a regular basis.  Now if I had a one time need for In Design or something, that’s another story – but we are talking regular use here.  Heck, I’ll rent glass I can’t afford, but I also am not using that glass every day!  Only for 2 or 3 days.

3.  The last part I have a beef with is whether this will ripple over to other products.  We don’t know yet, but I can only assume that Lightroom and Acrobat are soon to follow if this subscription service takes off.  The installation base for Acrobat is far more extensive – going into regular businesses, not just creative businesses, and the impact there could be dire.  I suspect Adobe is merely giving an indication of what’s to come by testing their leading products in this model.  Unless we want to see everyone adopt this method of sucking that much more from our own wallets – we need to tell them to stop now!

So, chime in now, and share on Twitter, Facebook, and Google Plus – as well as to Adobe.  I gave out links on how to do this here.  Here’s the on-going poll too if you don’t want to comment.  Speak up now and let Adobe know how you feel.  We still have a chance to change their minds.

EDITOR NOTE:  This post was written and published before I had a chance to read Scott’s Open Letter to Adobe on his blog today.  That letter pretty much takes Scott and Crew off the hook – they are advocating on our behalf and I’ve already given my accolades to Scott over there.  Please read that post as well!