Handling “No” Like a Pro

Handling “No” Like a Pro

Sounds exciting, right?  Working for yourself.  Setting your own hours, rates, vacation schedule and of course all of the fantastic assignments that come along as a freelance commercial Photographer.  True, it has been an incredible ride and I can’t imagine doing anything other than this.  However, as many opportunities as this career brings, it also has it’s share of stressful and unpredictable moments.  With so many Photographers trying to make their way into the business, competing for the handful of challenging assignments requires a lot of risk, resourcefulness and of course, there is the rejection.

Over the years, I have put together hundreds of estimates and responded to as many RFP’s that require a dissertation on my skill level, shoe size, favorite color and lists of references that would make the FBI blush.  And maybe, if I am in a groove of sheer luck, I land 50% of what I bid on, but in reality, I would bet it’s more like one out of five.  The loud, resounding “No” that I hear in the virtual world which typically reads “thanks for your time but we have decided to go in another direction” or even worse, complete silence, can be overwhelming but with time and plenty of chances to practice, all of us freelancers that just keep going have learned to constructively deal with rejection by focusing on a few key ideas.

1. Be Gracious and Accomodating

Nobody likes to be the person who has to come back to us with “thanks, but no thanks.”  This certainly can’t be too pleasant of an experience especially when it’s already difficult to choose between a pool of talent that could all most likely exceed expectations.  So, be gracious and accommodating.  Respond in kindness and always let them know that if they need anything in the future, to keep you in mind.  I have had bids rejected only to get a call later that the Photographer they initially hired had dropped out and I was their next choice.  A little karmic kindness goes a long way.

2. Don’t Take it Personally 

Rejection is probably one of the most common things we have to deal with in the Photography industry but the fact that we have been turned down certainly does not mean that our work is lacking.  Probably the easiest way to take it the hardest is when we try to overanalyze.  Most of the reasons as to why our proposals are rejected have nothing to do with us and everything to do with what our clients are looking for.  It could be a budget issue or maybe the style of another Photographer resonated more with the buyer.  It could be any number of reasons as to why we were passed over and typically we never found out exactly why.  Just keep in mind, if you’re not being rejected you’re simply not putting yourself out there enough.

3. Cultivate Your Relationships with Clients

Over the past 15 years I have developed a very solid base of repeat clients who make up the majority of my business, close to 70%.  They are extremely happy with the images produced and comfortable with the rates I offer and I am certainly not the cheapest commercial Photographer in Chicago.  For the new clients, I receive maybe 30-50% of what I bid on and I’m good with that because if I were to be awarded every assignment I ever sent in a proposal for, I’m either too cheap or too charming and most likely it’s not the latter.  So, I make sure to maintain long-term relationships with my repeat clients and always over-deliver on each project, keep them in the loop about the recent assignments I have worked on and drop them a note once in awhile just to say hello.

4. Know that Everyone Gets Rejected and Keep Going

Anytime you put yourself and you’re work out there, you’ll be faced with the risk of rejection.  I can’t think of one person that I admire who hasn’t been in the same boat.  After performing at The Grand Ole Opry, Elvis was told he would be better off going back to his career in Memphis where he was a truck driver.  Albert Einstein was expelled from school.  Socrates was considered an “immoral corrupter of youth” which brought with it his death sentence.  And let’s not forget the first Queen, pre-Beyonce, Oprah Winfrey.  Even she got the boot.  Unable to keep it together as a news reporter when presenting human interest stories, she was eventually fired.

Take a moment, take many moments if needed, breath, and move on because that rejection just brings us closer to where we need to be.

One of my favorite editorial Photographers, Joe McNally who works with top brands such as Nikon and Epson, shared his insightful and encouraging advice:

This is a long and winding road, filled with far more valleys than peaks. One of the greatest talents one can have in this business has nothing to do with visual acumen at the lens. It is about the ability to sustain, to weather the storms, to shoot poorly and still survive a job, to fight out of inevitable creative slumps, to live with all manner of risk that lots of folks would find uncomfortable, to make uncertainty your friend, and to thrive despite sudden curves and happenstance. I guess what I’m describing is tenacity. To love doing this so much that you’ll go through 1000 “no’s” just to hear the one ‘yes.’” 


The Top 10 Things They Won’t Teach You In Photo School

The Top 10 Things They Won’t Teach You In Photo School

When I was going to school for Photography I already had a bachelors degree, was employed full-time in a completely unrelated field and was taking a few classes to keep myself busy and hopefully out of trouble.  So when I lost my job in the midst of that, I had the bright idea to stay in Photo school and pursue my new and improved career: Tori Soper-Commercial Photographer.  Well, that didn’t last very long as the more time and money I spent on being educated in the classroom the less I felt that I was learning about the practical side of photography.  How many times did I need to answer the question “what does the absence of green in this photograph mean to you?”

When most people are in the midst of cementing their career path, I started off on a new one as a Photographers’ Assistant to anyone who would have me.  The tasks ranged from picking up lunch, running film back and forth to the lab (yes, film), processing in the darkroom and more hours than I care to count that consisted of standing around waiting for something to happen.  But that was the beginning of a real, concrete, oh my-is this what it’s really like? learning curve which I’m still riding 15 years later.

In honor of my brief stay in Photo school and also in support of the many photo students who have come to me with questions as well as Assistants who are in need of advice, I say heads’ up, here’s a few things that they never taught you in school.  Commit this to memory.

1.  Find Your Niche

When I first started moving away from Assisting and into shooting full-time, I was happy to shoot anything and so I did.  From food to fashion, portraits to pets, you name it,  I did it.  And this served me well at the time as I needed the experience and more importantly, the cash.  However, you can’t be everything to everyone and I have yet to find a Photographer who excels in every specialty.  Do one maybe two things and do them well.  If it’s people you want to photograph, excellent!  Then ask yourself: photojournalism, portraits, corporate, advertising?  There are so many options to pick from that specializing should not be seen as limiting yourself but mastering a skill that you can evolve with.

2.  The Language of the Law

One of the things that intimidated more than anything when I first started out was the language of estimates, invoicing, usage terms and copyright.  There are many nuances to creating a rock-solid estimate that can hold up to question and the key is to simply know what you’re talking about, understand what your client is talking about and make sure you have the paperwork to back this up.  This is incredibly important when providing photography on a business to business level as our clients may not know the lingo and it’s our job as their provider to fill them in on the details.  So, never leave anything to question and make sure you get it on paper.  For more information on commercial photography usage terms, check out this out. 

3. Do the Hustle

Especially when first starting out, you’ll have to be ready to move quickly, be somewhat of a Renaissance man and be prepared to hustle because at any given point, you’ll be doing the job of at least ten people at once.  If I had to post a job description to fill my own position it would go something like this: “Currently recruiting for an Administrative Assistant, Web Designer, Marketing Director, Accountant, Digital Tech, Telemarketer, Blogger, Envelope Stuffer, Janitor and Dog-Walker.  The faint of heart need not apply.”  Yes, there are days that are chill and move at a normal pace but then there are days that are filled with a little bit of everything from shooting to post-production, keeping up with invoicing and of course, my little boy Charlie doesn’t understand that I’m on a deadline and he does love and need his afternoon walks.  Just know, it’s not all all about clicking that shutter, in fact that’s just a very small part of this business.  Be ready to wear many hats.

4. Stick With The Tried and True

Photo gear is cool because deep down inside all of us Photographers are technology geeks at heart.  However, stick with what works.  Just because the new camera has all of the bells and whistles doesn’t mean it’s going to make you any better as a Photographer.  It’s you, your work and your sparkling personality (not the camera) that your clients are interested in.  So, instead of checking out the photo items for sale on  Ebay every morning with your cup of jo, check out other peoples’ work that inspires you, replicate it with the tried and true equipment you have and save your money.  Expect more from yourself than you do of your equipment.

5. It’s Not You, It’s Me

So says our clients.  Humility goes along way.  Yes, self-esteem is a wonderful thing but just remember it’s not about you, it’s about your client.  They hired you because you have work that proves to be consistent with their style and their vision so the key is to marry what you can bring to the table with what your clients need to see in the final product.  It’s a very fine balancing act in that you  have that creative energy that begs to be expressed but always make sure that this drive ultimately illustrates the ideas that your clients came to you to put into a photograph.  Of course experiment and of course offer up ideas, just remember yours is just one of the voices in the room.

6. Staying Creative While in a Slump

This is a toughie.  December rolls around and then here comes January and I haven’t picked up my camera as regularly as I normally do in what seems like forever.  It happens like this every year…I feel like I’m in a slump.  Well, thankfully you don’t have to go far to get motivated.  One of the things that works for me is to go through my portfolio pieces and consider how I may have lit things differently, how I could have enhanced the images more in camera.  This brings me into playing with new lighting concepts which I then start to incorporate as soon as the work does start rolling in.  Over the last several assignments, I have completely altered the way I am lighting my editorial subjects and though I do like the images, being better was not necessarily my first priority….being different from my norm was and in turn I think these past few shoots have resulted in even stronger photographs.

7.  Don’t Get Too Comfortable

If you can drag yourself over to the library for a good chuckle, check out some magazines issued 10 years ago even 5 years ago.  There’s a huge difference in style, in the light, even in the predominant colors.  Way back when, it was crucial to have everything in focus whereas the in thing these days is a very shallow depth of field.  The industry changes so incredibly quickly that although you might find your niche, it’s best not to get too comfortable as what works today won’t necessarily be what’s going to work tomorrow.

8. You’ll Make Mistakes and You’ll Live

Ok, this is so elementary but when you are the one making the mistakes it feels like the world will spin off its’ axis, you will never work in the field of photography again and you’ll probably need to sell your house, car, camera and so on.  But alas, that would be a very limited perspective because if you’re not making mistakes you’re not pushing yourself, you’re just not trying hard enough.  The road to excellence is not paved by perfection.  Instead, that path mostly consists of blunders, screw-ups, rejection, mistakes and a boatload of persistence.  Not to mention aiming for perfection makes you a little bitter and incredibly hard to work with.  So, chill because perfection is not the key here, endurance is.  Which leads me to…

9. Rejection is Way Better than Ambivalence

There are more ups than downs in the field of Photography.  You’ll hear more of “no” than you ever will “yes.”  One of the best things you can do for yourself is learn how to handle, survive and succeed though the valleys as well as you embrace the peaks.  Perspective has a lot to do with it for me.  Consider this, I maybe get every one of five assignments from clients that  I have never worked with before.  That’s about a closing rate of 20%.  Seems pretty shabby.  But what would that mean if I was closing 100%?  Does that mean I’m the cheapest Photographer on the block?  That’s not what I’m shooting for and neither should anyone else in this industry. Besides, at least with rejection we are on the radar, we are relevant…it is ambivalence on the part of the potential audience that should be more of a concern.  So, steady on, the greatest thing you can do for yourself as a freelancer is learn how to ride the waves through patience and persistence.

10. Value Your Work

How can you quantify in a dollar amount the value of what you produce?  Consider this, with the predominance of social media we are seeing a rise in visual content marketing which uses images rather than words to communicate about a businesses’ product and services.  And why are graphics being used more than ever?   Because our brains can process images waaaay faster, actually 60,000 times faster than text.  In creating these images, we are telling stories that our incredibly busy and equally distracted culture can absorb, remember and ultimately be influenced by.

Excellent images are story tellers and consequently money makers.  So, yes, know your competition, know your cost of doing business but also always keep in mind, that a picture is worth 60,000 words.  Once  you have that committed to memory, you will always be compelled to value your work.

Playing with Lighting for Environmental Portraits

Playing with Lighting for Environmental Portraits

I love it when I have the chance to do a shoot where we have creative control.  We were able to make this happen on  a recent portrait photography assignment when we headed over to the Gatorade Corporate Offices in Chicago for a photo session with the former NFL wide-receiver, Martin Nance. The University of Michigans’ Ross School of Business was looking for final images that were a little more gritty and high-contrast. In order to achieve this, we departed from the cross lighting that I often use in my corporate lifestyle and portrait photography and played with side and key lighting, emphasizing harder shadows in-camera and high-grain achieved through post-production.

We started with full body shots of Martin and modified the lighting as we pulled in closer for 3/4 and tighter head shots. Using 2 soft boxes with grids (to prevent spill) on each side, we created a frame of light around the edges of his face with a strong shadow featured in the center. To illuminate the paneled wall behind him, we had two reflectors with 20-degree grids and barn doors powered down by about 3 stops on camera left and 1.5 stops on the camera right. Finally, on a floor stand to camera right and behind our subject was a reflector with a 30-degree grid and barn doors, powered down by one-stop, illuminating both the floor and the right side of Martins’ jeans.

I’m a big fan of lighting diagrams and you can make your own here.

Chicago Commercial Photographer


The modification we made here was to move the backlight that was being used as a skim to the front of the set and to the right of the camera in order to illuminate the Gatorade cooler while also lowering the backlights on their stands.  This is the shot that was approved as the Hero image for The University of Michigan.

And coming in closer, these were my personal favorites.  We toned down the back lighting by both powering down the strobes to the lowest settings and moving to a higher speed on the camera.   And yes, that’s a SuperBowl ring, Steeler’s 2009!



Mistakes can also prove to be valuable.  As I was playing with the dials on my camera, I accidentally set the speed to 1/300th of a second which is the point where the mirror on the camera no longer syncs with the strobes but in this case it created a cool vignette.  I caught Martin while he wasn’t posing and it proved to be my favorite image from the entire photo shoot.

In post-processing, I pulled my favorite RAW selects from the session and enhanced the vibrance and clarity along with contrast in Photoshop.  Following this, I used the Topaz Labs Adjust 5.0 plug-in which has a variety of pre-set filters ranging from classic, stylized and HDR modifications which allowed me to make local and global adjustments to the images.  For this, I went with a lighter detailing filter which enhances the shadows and highlights, creating more contrast while giving a bit of a boost to the details…i.e. grain.

It’s always a pleasure to have the assignments that come through with so much creative control and a subject who is incredibly generous with their time.  Thanks to The University of Michigan and of course, Martin Nance.  Stay hydrated!


100 Lessons I’ve Learned as a Commercial Photographer

100 Lessons I’ve Learned as a Commercial Photographer

My little buddy Charlie Parker and I were out for a long walk through the forest preserve today and having had a few days off, a rested mind and some time on my hands, I was remembering when I started off transitioning into Commercial Photography.  Plenty of ambition, just enough naivete and a very rough roadmap of where I wanted to go in this career.

I didn’t walk into this completely blind as I had done plenty of interviews with established portrait and corporate photographers to learn about their take on the industry, the art of Photography and the possibilities for someone just breaking into the field.  It wasn’t very encouraging…..not in the least.  So, as is typical, I ignored the warnings, the opinions and doomsday forecasts and just did my own thing.

Thankfully, I have learned a few things in the process of 15 years and not only about the techniques and craft behind photography but also about the business and really quite a bit about myself as well.

And here’s the unedited, spontaneous list of 100 things I have learned as a Commercial Photographer:

  1. Never throw sand in the sandbox.
  2. An expensive camera with all the bells and whistles does not make a good Photographer.
  3. Always shoot in RAW.
  4. Only show your best work.
  5. Shoot.  Shoot More.  After that, keep shooting.
  6. Practice doesn’t necessarily make perfect but it does always make better.
  7. Photoshop is not magic, it’s a tool to enhance an already awesome image.
  8. Don’t try to copy someone else’s style.  Create your own.
  9. Learn how to read your histogram.
  10. Cameras are not toys, they are tools.
  11. Photography is one part vision, one part technique.
  12. Never throw out a price over the phone.  Put it on paper and explain the details.
  13. Don’t ask why. Ask who, what, when, where and how much.
  14. A bad photograph cannot be photoshopped into a good one.
  15. Your subjects will mirror your disposition.  If you’re smiling, they will too!
  16. It’s better to underexpose than to overexpose.
  17. You’re only as good as your last photograph.
  18. Always buy lighting cases with wheels.
  19. Create an inventory of your equipment.
  20. Carry as much insurance as you can afford.
  21. Always require a deposit.
  22. Have a back-up of your images.  One onsite and another in the cloud.  Schedule the back-ups to be performed daily.
  23. Ask and you shall receive.
  24. Saying “I’m a Commercial Photographer” in social settings is pretty cool.
  25. Photography is incredibly physical.  Stay hydrated. Stay strong. Stay healthy.
  26. When shooting an event, don’t be a creepy voyeur, try to blend in the scene and keep smiling.  (See #15)
  27. I don’t miss film.
  28. Prime lenses or zoom lenses?  It’s all subjective.
  29. Take the time to shoot what you love.  Print it big.  Frame it.  Hang it.
  30. Make friends within the photography community.
  31. Critique your own work.
  32. The editing of images is as important as photographing the images.
  33. The definition of Photography is painting with light.  Learn how to read it.  Learn how to use it.  Learn how to manipulate it.
  34. Drag the shutter.
  35. Pay your Assistants asap.
  36. Never say no to a client.  Instead, offer alternative options.
  37. Don’t compare your progress to someone else’s successes.
  38. Be prepared for famines and make the most of the feasts.
  39. When in doubt, embrace the rule of thirds.
  40. Know your camera like the back of your hand.
  41. Things break…always have a back-up camera body and flash.
  42. Composition is key.
  43. Learn to relate.  Whether it’s the guy on the shop floor or the CEO of a Fortune 100 company, you’ve got to be engaging.
  44. Instill your subjects with confidence…let them know that you too are not a fan of having your photograph taken so you can empathize.
  45. Make it painless.
  46. Nikon or Canon?  It’s all a matter of taste.
  47. Do research on your subject and their company before each shoot.  It’s a plus to go in knowing a bit about them.
  48. Keep your sensor clean.
  49. Always ask your clients what they are looking to achieve with their project.  It’s always more than producing great images.
  50. Shoot in manual mode at all times.
  51. Always arrive for a shoot atleast 15-30 minutes prior.  You never know what delays you may face.
  52. Choose a specialty and excel in it.
  53. Put the camera down.  Enjoy the moment.
  54. Be a mentor to your Assistants.
  55. Persistence and patience in this industry are essential.
  56. Even when you think you got the shot, shoot a few more as insurance.
  57. Calibrate your monitor.  An inaccurate display is like dating a pathological liar….it can be very deceiving.
  58. Learn how to market yourself.
  59. Always have extra gaffers tape on hand.
  60. When a clients’ first question is “how much”, their primary concern is not quality.
  61. Of these three: quality, service, price, you can only offer two of these at one time.
  62. Respond to your clients or potential clients e-mail and phone calls right away…even if just to say “I’m on a shoot but will get back to you as soon as possible”.
  63. The best equipment is what you have.
  64. Only put it on a credit card when you have the funds to immediately pay it off.
  65. Always stay calm.  If it’s not working, just remember Occam’s Razor and check to see if there are batteries in it.
  66. Wear comfortable shoes.
  67. If you don’t like your website, no one else will either.
  68. Never give your clients a reason to worry.
  69. Critique your skills.
  70. Join your local Chamber of Commerce.  It’s great for Networking and may teach you a thing or two about running your business.
  71. Never shoot a person who doesn’t want to be photographed.
  72. Don’t be a hack….practice White-Hat SEO.
  73. Re-check your camera settings.  Lock them in before shooting.
  74. If a client wants to try something on set that you know will not work, do not just say no, shoot it and show them why it won’t work, then be a rock-star and offer up a different idea.
  75. There will be people who are not fond of your style, whether it’s your personality or your portfolio.  Be pleasant.  Move on.
  76. You select your clients as much as they select you.
  77. If you are awarded every job you bid on, you might be undermining the whole industry with prices that remove the value of what we as commercial photographers provide.
  78. A little HDR goes a long way.  Don’t overdue it.
  79. Shooting for free makes you the photographer who is cheap, not good.
  80. Be prepared, even when the shoot is planned for 2 hours, they tend to run long….pack an apple, some almonds, a banana.
  81. Take your camera off that tripod.
  82. Shoot what it feels like.
  83. Be bold.  Be Assertive.  Take charge.  Take Direction.
  84. Ask each client what their target budget is.  Yes, they will tell you.
  85. Estimate according to the complexity of the shoot, the time required, the value given and your clients’ budget.
  86. Study, understand and employ the value of usage terms.
  87. Candid moments hold more emotion than posed photographs.
  88. Shoot beyond eye level.  Bend, crouch, get on the floor, have a step stool.  Try every angle.
  89. Black and White doesn’t automatically mean “Art”.
  90. It’s better to be flexible on estimating and keep your clients then try to search out new ones.
  91. Always carry a polarizing filter.
  92. Embrace Fibonacci’s Ratio.
  93. Do yourself a favor and do not use direct flash.
  94. Smaller capacity CF cards always.  It’s better to lose 4 gigs than 32.
  95. Always send a thank you card.
  96. Take the time to educate your clients on what is needed for a successful shoot.  Whether it is what to wear or how to schedule and always be there to offer your help in conceptualizing the project.
  97. Keep in touch with your mentors as with time they will become your colleagues and close friends.
  98. Understand that 90% of your function is to serve as a business-owner.  The other 10% is to take photographs.  Do them both with excellence.
  99. Remember that Dr. John says “A quitter never wins and a winner never quits”.

And probably the most significant lesson that has come from these years of learning, shooting, making mistakes, perfecting my craft and adapting to the ups and downs of this business is that you don’t go into Photography to be a rock star, to become rich, or to simplify your wardrobe with cargo pants and black t-shirts.  You do it because you love it and cannot imagine doing anything else.

Understanding and Capturing Expressions

Understanding and Capturing Expressions

For a long time, researchers believed that there were only 6 expressions that everyone  in the world could identify: happiness, sadness, fear, anger,  surprise and disgust.  But with over 42 muscles in the human face, the combinations are nearly limitless.  Since photographs don’t contain any auditory or written communication, understanding and being able to read the subtleties is so important in portrait photography as these expressions are the main method of communicating our emotions to our audience.

Invalid Displayed Gallery

The moments of real emotion can fly by so quickly, you really have to be patient, wait on them, make them happen, seek them out.  But once they emerge, it’s essential to shoot frame after frame to capture that awesome instant.

Just as important, recognizing these emotions in others also helps us determine whether or not we are truly connecting with our subjects.  When I am shooting, I am in the moment.  Of course, I like to direct when it’s needed but the approach is gentle, expressions genuine and atmosphere relaxed.  I think the good stuff comes organically and evolves when my subjects get comfortable with my camera and with me.

Invalid Displayed Gallery

There is no Photoshop action or plug-in filter that can replicate the impressions and impact of a spontaneous laugh or the sparkle in the eyes that accompanies a true smile.   You’ve got to be fully engaged in that moment and remember, “Don’t shoot what it looks like, shoot what it feels like.”-David Allen Harvey

Making Interesting Portraits Anywhere

Making Interesting Portraits Anywhere

Occasionally, I walk into an assignment to do an environmental portrait for a magazine or  a corporation and it is like a kid walking into a candy store with an unlimited amount of cash in their pocket. There are so many backgrounds to work with that include beautiful architecture, funky angles, cool lighting and of course stunning artwork. Just a little something to add dimension and interest to the shot while at the same time being relevant to the subject I am photographing.

But then again, there are a handful of cases when I go in to do a portrait and there is little to nothing that catches my eye and most certainly would not capture the attention of the reader. Thankfully, my mother always inspired me to make something from nothing. I always thought she was being obsessively frugal when she was unimpressed by the strong cases I could make in support of hooking me up with the newest whatever was cool at the time novelty but apparently she wanted me to have a little fun with the best toy that would always be available to me: my imagination.

I owe her. Big time. Especially when I consider all of the places I have walked into that initially seem like they have close to nothing to offer that would serve as an interesting background. But from a professional photographer’s perspective, there is no such thing as uninteresting. So, in honor of my mom, here are a few tips on how I make a little something from nothing.

1.) Change the way You Look At It
We are consistently looking at our environment at eye-level and the subject of primary importance is typically centered in our focal range. Instead, change it up and shoot from different angles while keeping the subject off-center.

Chicago Corporate Photographer

2.) Frame Using Foreground and Background
Using what is both in front of and behind the subject in super-soft focus helps to frame and direct the viewers attention to what is of primary importance in the shot. Especially using something relevant like a textbook for a portrait of a professor or student, even just a hint of it, adds more visual interest.

Chicago Corporate Photographer

3.) Experiment with Different Lighting Modifiers
Available light can leave much to be desired so I like having the option of completely creating and controlling this. This is where you get the contrast, the little bling that creates dimension. But lighting alone, even when done well, sometimes needs a kicker and this is where I use gels and cookies to create a little something where there was nothing.

Chicago Corporate Photographer

4.) Play around in Post

As a portrait Photographer, I do not like to take post-production too far as the end-product should accurately reflect what was done in-camera and match the style of the client whether that be a trade-magazine or corporation. However, playing around with vignetting, pushing the details in HDR or tweaking the curves for contrast are all fair game and these small enhancements can make a big difference and add to the visual style, content and interest of a portrait.

Chicago Corporate Photographer

So, no matter the space we are working with, there are always interesting visual elements that can be added through composition, lighting and post-production that bring a little bit more bling to each shot.  It just takes a little imagination.  Thanks, Mom