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Chris Gampat The Phoblographer Zeiss 85mm f1.8 Batis lens review image samples (10 of 11)ISO 4001-160 sec at f - 1.8

One of the biggest problems that almost any photographer faces is how to get someone to notice them. This is tough enough to do beyond convincing someone to pay them for photos–for most photographers at least. The most honest trust about this industry (and almost any industry) is that it’s about who you know more so than what you know. But that shouldn’t discourage you from spreading the word of how great your work is. In fact, if you’re working so hard to create beautiful photos and you’re not letting anyone know about it, then what’s the point?

Here’s how you can cut through all the rest and make others more aware of the type of work that you do.

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Chris Gampat The Phoblographer Asus ux501 laptop (3 of 9)ISO 4001-100 sec at f - 2.8

Don’t put every image that you shoot into your portfolio.

That’s the very first thing that I find myself telling photographers who pitch their work to the site and unfortunately don’t get featured. Figuring out which photos should go into your portfolio can be tough to do unless you know how to think and emotionally remove yourself from the photo itself.

To build a better portfolio, you have to keep shooting and then become a slave to the camera and your own creative ideas. It’s how you’ll get better and continue to evolve and change your work. But there are loads of things to think about when actually putting the photo portfolio together to show off to the world.

Here’s what you should consider, though it surely isn’t the end all be all list.

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Careful composition for a cognac ad using the Golden Spiral

Careful composition for a cognac ad using the Golden Spiral
Image by Sander Martijn

The struggle to become a better photographer involves getting critiques from others who are better and know how to create better images, but you can also be a very harsh critic of yourself. It starts off with not justifying any defense that you may have and understanding that in a real life situation, your image is going to have to stand on its own two legs because you probably won’t be there to defend it. If your image is online and someone writes a comment, then sure, you can have a back and forth dialog. But for the sake of putting up the best work that possibly can, we’re not going to think about that situation.

For that reason, here is a checklist of questions to ask yourself before you put up an image. We think of these all the time as we get images submitted to us for featuring. If you’re finding that the odds are against you when you ask these questions, then don’t use the image unless you can fix it.

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Chris Gampat The Phoblographer Sigma 150-600mm f5-6.3 Sports lens review photos (6 of 27)ISO 4001-500 sec at f - 6.3

This is a guest blog post from Nancy Young, who runs the excellent PhotoDoto website. She writes tons of inspirational articles on photography and web design, despite the fact that she is an economist by education. She enjoys reading, learning SEO and also losing her mind to French movies. Be sure to follow her on Twitter.

When dreaming of becoming a professional photographer, it’s easy to hide behind rose-colored glasses, which make everything look easy and fancy. Most people are attracted to the idea that they can get paid for their hobby. But becoming a pro photographer is really challenging. There are a lot of people who started photography businesses, but failed in the first year, as they struggled to make the money that they expected to.

Owning professional equipment, receiving compliments from friends on your photos and having the desire to become a pro is not enough to become a professional photographer. Here I have assembled 10 of the most common myths about professional photography to warn you about possible mistakes when going into this business and how to avoid them.

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All images by Ivaylo Petrov. Used with permission.

Ivaylo Petrov is a portrait, editorial and commercial photographer. But he’s not just any portrait shooter–in fact, Ivaylo creates portraits instead of shoots them. His images have a very grand look to them that inspires and is a fresh perspective on the portrait.

“In my work, I mainly photograph people, both in studio and on location. I consider myself a versatile photographer, who likes to take on every assignment with individual approach and that’s what defines my style – its diversity.” Ivaylo tells us. “My personal preference is, however, classic, cinematic look and feel of the work that I do.” He continues to tell us that his inspiration comes from other forms of art. For example, he loves watching movies.

You can find more of his work on Behance, but we talked about it with him here.

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Model: Megan Gaber

Model: Megan Gaber

“Here’s how you can speed up your workflow…”

“Here’s how you can make your workflow so much quicker and get back to shooting…”

Almost every single marketing guru in the imaging world has the solution for you. Yes, the title of this piece is a very strong stance, but it’s one that needs to be taken. Everyone and their other has a way for you to get a faster image editing workflow and supposedly get you back out there and shooting. But as Jared Polin says (love him or hate him) the image creation process doesn’t end when the shutter clicks. It keeps going. Back in the film days, you didn’t sit there and try to speed up the development process of your images–you sat there in the darkroom and tried to figure out ways to make each of those 36 exposures the best you possibly could.

The myth of speeding up your image editing workflow may be nice and simple, but it’s only satisfactory. It’s not the best you can do.

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