At Lin and Jirsa Photography, we’ve shot prep coverage at hundreds of weddings across Southern California — cramped hotel rooms, sprawling estate suites, dark dressing rooms with one window. What follows is how we actually approach it, from the moment we walk in the door to the last bridal party frame before the ceremony.

Walk in early and read the room

Arrive before you’re supposed to. That’s not a soft suggestion — it’s the single biggest thing you can do to improve your prep coverage. Arriving 15 to 20 minutes early lets you assess the light situation, identify the best corner of the room for portraits, and spot problems before they become time crunches.

The first thing we do is find the light. Is there a window? Which direction does it face? Is the room so dark that we’ll need to supplement? A north-facing window in a suite gives you that soft, directional light that makes everything look effortless. A south-facing window at noon means you’re dealing with harsh light that blows out skin. We’ve walked into rooms where the only usable light was a single lamp and a bathroom fixture — and we’ve had to build a setup from scratch in under two minutes because the bride was already in the chair.

Honestly, the room itself tells you your whole shooting plan if you walk in with your eyes open instead of pulling out your camera immediately.

Photograph the details first

Detail shots need to happen before the room becomes chaotic — before people are milling around, stepping over the shoes, and picking up the rings to pass around. Get there early and get them done.

Before you arrive, ask the bride to gather everything into one spot: dress, shoes, rings, earrings, necklace, bracelet, bouquet if it’s arrived, invitation suite if she wants it included. A simple text the night before is all it takes. We’ll often say something like: “If you want detail shots of your jewelry and accessories, have everything in one place when we arrive — we’ll photograph them first thing so nothing gets overlooked.”

Ask the bride whether she wants the smaller accessories photographed as a styled flatlay or on her body once she’s dressed. Most brides want the dress photographed hanging by itself, but opinions vary on jewelry — some love a styled ring shot on a flower petal, others couldn’t care less and just want it on their finger. Find out in advance so you’re not burning ten minutes on a flatlay nobody asked for.

For the dress, hang it somewhere with clean background and good light. A smooth wall or a window frame works. A door covered in scuff marks does not. We’ve taped a small hook to a curtain rod in a hotel room more than once. Whatever gets the dress off the floor and into the light.

Approach makeup shots as directed moments, not candids

New photographers often try to shoot makeup application as pure photojournalism — hovering and hoping for a great moment. The problem is that the actual process of applying makeup is rarely photogenic. The bride’s face is often in an awkward position, her eyes are closed or half-open, and the makeup artist’s hands are blocking everything interesting.

The approach that actually works: shoot re-enacted makeup photos after the application is finished. The makeup artist pretends to apply a final touch while the bride is already fully done. Photographers sometimes call these “fakeup” shots for that reason. The results look natural because the bride is relaxed, her face is complete, and you can position both of them for the best light.

The other thing most photographers miss: you’re not obligated to shoot wherever the makeup artist has set up. Makeup artists choose their spot based on their lighting needs, not yours. Occasionally those overlap. Often they don’t. If the chair is positioned facing a harsh overhead light or backed against a cluttered bathroom counter, ask politely if you can move for a few frames. Most makeup artists are happy to accommodate — especially if you explain you just need two or three minutes near the window.

One setup we use at nearly every wedding: the backlit hairspray shot. Position a speedlight or small strobe behind and to the side of the bride, aim it toward camera, and have the stylist spray. The flash catches the mist and creates a halo effect that looks like it took serious planning. It takes about two minutes. Clients love it, vendors share it, and it requires exactly zero natural light — which makes it perfect for those dark, windowless hotel suites.

Find clean light, then direct the activity into it

Once hair and makeup are wrapping up, your job shifts from observer to director. This is where a lot of photographers get passive and miss the best frames of the getting ready coverage.

The light comes first. Find the best source in the room — usually the largest window — and then create an activity near it. Common setups that work: the bridal party doing a champagne toast, the bride writing a note to the groom, bridesmaids helping each other with last-minute adjustments. You’re not manufacturing emotion; you’re creating the conditions for it to happen in good light.

Keep the group tight enough that they fill your frame. A bridal party spread across a 15-foot couch in a big suite looks disconnected — physically and emotionally. Ask them to move closer together, even if it feels slightly staged to them. In the final image, it reads as natural closeness.

That said, don’t over-direct. Give one instruction and then step back. “Go give her a hug” is a direction. Choreographing every arm placement is not — and the subjects will feel the difference. The goal is a catalyst, not a performance.

Cover getting ready with wide, medium, and tight angles

This is the framework we use for every getting ready sequence, and it’s the fastest way to ensure you have a complete set of images that actually tell a story rather than a random collection of moments.

The wide shot establishes the scene. Where are they? What is everyone doing? What’s the environment? Shoot with something in the 24-35mm range, include some of the room, and make sure the viewer knows what’s happening. These are the images that open the prep section of an album.

The medium shot moves in on the people. Faces become readable. You can see expressions and reactions. This is where you’re capturing the emotion of the moment rather than the context. An 85mm at f/2 here isolates the bride from the background while keeping one or two bridesmaids in the frame behind her.

The tight shot captures the details of the action: hands on the zipper, the clasp of a necklace going on, a bridesmaid adjusting the veil. These close-ups are what make the sequence feel documentary rather than posed. Shoot them at whatever focal length lets you get close without distorting — typically 85mm to 100mm macro if you have it.

Every significant moment in the getting ready sequence deserves all three. Dress going on: wide of the room, medium of the bride’s face, tight of the zipper. If you only shoot medium frames the entire time, the album will feel flat. The combination of all three is what creates genuine visual storytelling.

Bridal portraits during prep: use the same light twice

Once the bride is fully dressed, take five to ten minutes for individual bridal portraits before moving into bridal party group shots. This is often overlooked in tight schedules — but it’s where some of the best images of the day come from, and you already have the light set up.

That’s the key: use the same window or light setup you’ve already been working with. Don’t break down and move to a different location for these portraits. The light is good, you’re already there, and the bride is fresh. Front and back full-length portraits, a face detail, a dress detail from behind. You can get a complete set of must-have bridal prep portraits in under eight minutes if you’re organized.

For focal length, we lean toward 85mm for individual bridal portraits during prep. The compression is flattering on the face and dress, the background blurs naturally without you having to push the aperture to f/1.2, and you can work in a reasonably small space. Wider than 50mm at close range introduces distortion that’s unflattering on the dress silhouette, particularly on the hips and shoulders.

Soft light is non-negotiable for bridal portraits. Whether that’s a large window with sheer curtains, a shoot-through umbrella, or a softbox — the goal is a gradual shadow transition on the face, not the hard shadows you get from direct flash or a bare window in direct sun. For a deeper look at light modifiers that travel well, see our guide to portable off-camera flash modifiers.

Bridal party group portraits: connections over symmetry

Classic symmetrical bridal party posing works for a reason: it’s fast, it reads clearly, and it scales from a party of four to a party of fourteen without requiring you to reinvent the composition. Place the bride in the center, VIPs immediately adjacent (maid of honor, sisters, anyone the bride mentioned specifically during the planning call), and build outward.

The detail that makes or breaks a bridal party group shot is physical connection. Shoulders touching, arms linked, hands on each other’s backs. People who are lightly touching look connected. People who are standing near each other but not touching look like strangers at a bus stop. Make sure everyone has at least one point of contact with someone next to them, and watch for overlap — more than about 20% body overlap reads as awkward unless it’s an intentional group hug or lean-in.

Once the group is positioned, vary expressions with micro-adjustments rather than full repositioning. Ask them to look at camera, then look at the bride, then lean in toward her, then just laugh. That last one almost always produces genuine laughter within about three seconds — which is more useful than asking people to smile, which produces the opposite of genuine laughter.

Editorial posing — varied heights, angles, and attitudes — produces more interesting images but takes significantly longer to set up. Allow 5 to 10 minutes for a group of six if you want to attempt editorial. We’d recommend only going that route if the bride has specifically said she wants it. Some bridal parties are enthusiastic and athletic about posing. Others are not, and spending ten minutes on an editorial arrangement with an unwilling group produces painful results. Read the room.

Individual bride and bridesmaid portraits

After group shots, photograph the bride individually with each bridesmaid. This is one of those deliverables that clients often don’t specifically request but always appreciate when they see them. The bride chose these specific people to stand next to her on this day. A single image of the two of them together is a genuine gift.

Keep it efficient. For each pairing, get one clean pose and one fun pose. The clean pose: shoulder to shoulder, bodies angled slightly toward each other rather than fully parallel, attention to posture and expressions. The fun pose: let them drive it. Ask if they have an inside joke, a signature move, anything that’s “theirs.” You’ll get something that means nothing to you and everything to them. Those are often the images that get framed.

Don’t spend more than about 90 seconds per pairing. With a party of six, that’s nine minutes total — which is completely workable within a tight schedule if you stay organized and keep transitions moving.

Family portraits during prep

Family formals happen later in the day, but prep is often the best opportunity to capture a quiet moment between the bride and her parents. The bride is fully dressed, emotions are running high, and the formal schedule hasn’t started yet. A few minutes with the mother of the bride, the father of the bride, or both parents together produces images that carry weight far beyond what the scheduled family formals typically deliver.

You don’t need to turn this into a full portrait session. Two or three frames — a hug, a first look between the bride and her father, a quiet moment with her mother while the veil is being adjusted — is enough. These are documentary moments more than posed portraits. Let them happen, position yourself for the light, and get out of the way.

The through line: plan and communicate before the day

Every tip in this guide relies on the same foundation: communication before the wedding day. The detail shot list, the dress location, the editorial posing preference, the inside jokes for individual portraits — none of that information is available to you if you’re meeting the bride for the first time when you walk into the prep room.

A 20-minute phone call or a detailed questionnaire sent two weeks before the wedding covers all of it. Find out who the VIPs are. Find out how much time is scheduled for prep. Find out if she has any specific shots she’s seen on Pinterest that she wants. Then you can walk in and execute rather than interview.

The photographers who produce consistently excellent bride getting ready coverage aren’t better at improvising under pressure. They just do the work beforehand so they don’t have to.

For a full system covering every phase of wedding day coverage, from engagement sessions through reception, explore our Wedding Photography Training System in SLR Lounge Premium.

Frequently asked questions about bride getting ready photography

How much time should be scheduled for bride getting ready photos?

Budget at least 60 to 90 minutes for comprehensive prep coverage, including details, makeup re-enactments, the dress going on, individual bridal portraits, bridal party group shots, and individual pairings. If the bridal party is larger than six or editorial posing is requested, add another 20 to 30 minutes. Rushed prep coverage is one of the most common reasons wedding galleries feel incomplete.

What gear do I need for getting ready photography?

An 85mm lens covers most of the session — bridal portraits, individual pairings, medium getting ready shots. A 35mm handles wide environmental frames and tight room situations where you can’t back up. A speedlight with a small modifier (shoot-through umbrella or portable softbox) handles dark suites and gives you the hairspray shot. That’s a complete kit. Anything beyond that is a bonus, not a requirement.

What settings should I use for indoor getting ready photos?

For window light situations, start at f/2 to f/2.8, 1/160s, and ISO 800 to 1600 depending on the room. Adjust from there. If the room is very dark and you’re supplementing with flash, expose for the ambient light first so the room doesn’t go black in the background, then add flash at a power level that complements rather than overpowers. The goal is to not make the images look like they were shot with flash even when they were.

Should I use flash for bride getting ready coverage?

Use available light where you can, and add flash purposefully where you can’t. Direct, on-camera flash during prep coverage produces flat, clinical images. Off-camera flash bounced through a modifier or aimed through a sheer curtain can be indistinguishable from window light in the final image. We typically pull out flash for two situations during prep: supplementing genuinely dark rooms, and the hairspray or veil shot where the backlight creates a creative effect you couldn’t achieve with available light alone.

How do I photograph the dress going on?

Cover it with all three angles: a wide frame showing the room and who’s helping, a medium frame showing the bride’s face and expression, and a tight frame on the hands doing the zipper, buttons, or lacing. Get into position before it starts — once the dress is on, the moment is over. Brief the bridesmaids in advance so they know to call you over when it’s time and to expect you to move around them quickly.

It might seem simple at first – just take pictures of houses and rooms, and get paid! However, there is certainly a lot more that goes into it, from the preparation and shooting to finding clients, communicating with them, and ensuring their satisfaction with a beautiful final product.

So, we’ve created this quick but thorough tutorial to help you get started. We’ll continue this series with additional tips on how to actually photograph real estate itself, the gear you need, the post-production, and the business side of things. So, read on, and stay tuned for more!

Thank you to HDRsoft for sponsoring this tutorial series and making it possible. The tips given in this tutorial are based on professional experience by our full-time photographer staff, and are our own opinions and advice.

Step 1 | Get the Right Gear For Real Estate Photography

Believe it or not, even though real estate photography does require a few particular bits of camera equipment, none of it is especially exotic or expensive. This is because of the basic nature of photographing such subjects as interior rooms, or exterior property images, which is, you’re photographing a static subject that you have complete control over. This means you don’t need a camera with pricey features like action-tracking autofocus or high frame rates, etc.

Two camera features which will indeed come in handy are the ability to bracket multiple exposures, and the ability to trigger a flash. Thankfully, all advanced/serious cameras (and even most beginner models) have both of these features.

So, what is the most important piece of gear? A solid tripod. Next, a wide-angle lens. However, since you’ll be on a tripod most of the time, your lens does not need to be an exotic fast-aperture one, it just has to be wide-angle, or what’s known as ultra-wide.

If you have these two items (a sturdy tripod and a wide-angle zoom lens) then almost any camera body will get the job done! Even a crop-sensor camera body can be used for totally professional results (as long as your wide-angle lens is made for that body).

A fourth item that will be of great use is a basic wireless flash. You can use this to illuminate interiors, either by bouncing the flash off the ceiling and walls behind the camera, or by using a diffuser such as an umbrella or softbox. However, this bit of equipment isn’t entirely critical, so don’t be intimidated by the thought of having to shop for softboxes and light stands and radio triggers, yet!

Alternately, if you’re not interested in flash, (or more likely, you’re photographing large exteriors where flash is simply not an option!) then the final tool will be a professional HDR workflow and software.

Step 2 | Get Image Editing Tools for Real Estate Photography

Even if you have a solid tripod, a great camera, and the best lens for the job, you still need to know how to edit the images you take! A Raw processing program is a must-have for almost all professional work, however for real estate photography there will be a need for advanced Photoshop processing, as well as an HDR (High Dynamic Range) processing application. You might even need to process multiple HDR images in batches for particular jobs.

Adobe Lightroom and Photoshop can get a lot done all by themselves, and HDR software such as Photomatix Pro offers both high-quality and advanced tone controls for editing bracketed images, as well as highly efficient batch processing capabilities.

• Check Out Adobe Photoshop Lightroom CC
• Check Out Photomatix HDR Software

We’ll get deeper into the equipment in a future article, so stay tuned for that. For now, this basic guideline should be able to get you started.

Step 3 | Learn and Practice Photographing Real Estate

Before shooting a paid job, you absolutely must practice, and be sure of exactly what your camera gear is capable of. Not only will it help you work efficiently when you’re on a “real” job, it will also help you ensure that you deliver highly professional results.

In future articles of this series, we’ll dive to real estate photography techniques, tips and tricks, so be sure to stay tuned to this series.  To get started, here are a few critical concepts.

Understand What Images to Capture

Start with understanding the right images to capture. The best thing you can do is practice, while closely studying existing property listings and images of the types of things you’re most likely to actually photograph. As a general rule, get one or two images of every interior room, (or have the client make a list of the specific rooms they want to be photographed); and get 3-5 images of property exteriors, including the front yard and the backyard.

Watch Your Angles

Be careful not to angle your camera upward or downward too much, because vertical lines should usually appear as close to perfectly vertical as possible. This can be corrected in post-production, but only to a certain degree.

Understand The Dynamic Range Of Your Camera

Digital camera sensor dynamic range has come a long way in the last 10 years, but it’s still not infinite. You should always understand just what your camera is capable of; never tell yourself, “oh, I can recover those shadows in post-production!”

Even if you just bought a fancy new camera that everybody says has amazing shadow recovery, you still should perform a test. Shoot a dramatic sunset with a property or other subject that is in complete shadow, start by saving your highlights, and see how many stops (EVs) you have to brighten the exposure before you can see into those shadows.

Since exterior property images are almost always best at sunset or twilight, you’ll want to make sure you always capture the full dynamic range of a scene when you’re on the job. Unfortunately, each camera has very different setups for exposure bracketing, so play around with it and make sure you know exactly how to bracket a scene very quickly before you go out on paid jobs!

Building A Portfolio For Real Estate Photography

Getting into any portfolio-related business is always a catch-22: how can you get professional work if you don’t have a portfolio of professional images to show potential clients? Thankfully, real estate photography is actually one of the easiest fields to build a great portfolio for!

First and foremost, you can of course practice with your own home, if you can make some of the rooms presentable enough. Or if you have a friend who has an ideal home, they might be willing to allow you to photograph a couple of rooms.

Also, anything that you can photograph in a public place is fair game! Just be respectful and safe, as always. (It helps to carry business cards stating that you’re a photographer.)

Of course, you can always cold-call real estate agents in your area. You might get a “no” 19 times, but the 20th might be a yes… Alternately, sometimes online vacation rentals (Air BnB, VRBO, etc.) could use a few great interior and/or exterior images.

Lastly, keep in mind that this is just your portfolio, not an actual property listing. As such, feel free to use Photoshop extensively to clean up and beautify your images! If there’s a window with a brick wall or an ugly backyard outside, try swapping it for a beautiful view of a beach or a mountain. Such tricks would never be allowed in an actual listing, of course, but it’s good practice for your Photoshop skills! (One thing that is very common in actual property listings is, using Photoshop to swap a boring sunset sky with a more dramatic one.)

Real Estate Photography Business – Getting Work

When you’re ready to actually charge money, it may not be enough to simply put your portfolio online and get business cards printed. These days, the process of “breaking into” any photography market is pretty involved, and often a long-term game.

Firstly, of course, you’ll want to do the obvious: reach out to real estate agents in your area, or to other photographers in the area who might need an assistant on bigger jobs. Also, there are many other channels you can pursue, from paid advertising online, to good ‘ol SEO, (Search Engine Optimization) or even in-person sales at local events or cold-calling phone numbers you see on local property “for sale” signs.

As with any business endeavor, it can take a lot of hard work to get your foot in the door. The key is to just keep trying different things, and don’t give up!

Should You Shoot For Free First?

It might be okay to photograph one or two jobs for free if you really do need the practice, and can’t promise professional results yet. Just make sure that you’re not being taken advantage of by a client who absolutely could have paid you at least some small amount for your time. There’s something about your sheer dignity, that makes a huge difference between asking for a mere $50 or just doing a job for absolutely nothing.

When you really do know what you’re doing, though, you should be charging money. No matter how many times you hear, “I can’t offer you money this time, but if you do a good job, there’s a chance we can pay you on the next job,” don’t believe it!

See, here’s the deal: When you shoot for free, that client will probably expect to be able to get away with it again. Worse, however, is this- every time you do an unpaid job, you’re building a reputation as a person who shoots for free. This sets a precedent and makes it all the more difficult to charge money later. Imagine trying to charge a client $5,000 or $10,000 for a job, when just a few years ago you did free work for them. Awkward!

So, take pride in your professionalism when you say, “I’m sorry, I can’t accept future business as payment for current work; thank you for understanding!”

What should you charge?

Ideally, what to charge for real estate photography will depend entirely on the area/value of the property itself, as the scope of the job, as well as how much time you will spend working on it.

For example, if you can shoot and post-produce the entire job in half a day, that’s one thing, but if you have to spend a few hours consulting with the client, renting the right gear, plus a half day or a whole day shooting the images, and then of course another day (or more) doing advanced post-production, …then you’re going to need to charge a lot more.

We’ll get into what to charge, and how to go about setting up your pricing, in a future article.

Before we move on, here’s a basic overview. Of course, the exact numbers will vary depending on your location, but a “quick” job might only pay $100-200, or as much as $500-1000. A larger job may range from just a few hundred dollars to a few thousand dollars.

Even if you have to start on the low end and work your way up, the absolute best thing you can do for yourself is, keep track of all the hours you spend on each job, plus running your business in general, …and add it all up. Not only can you determine what you’re actually paying yourself by the hour, but just as importantly, you can determine just how many jobs you can actually fit into a single week.

In future articles, we’ll dive deeper into the business side of real estate photography! Please leave a comment below if you have any particular questions on the subject.

Conclusion | Getting Into Real Estate Photography

This article should provide you with enough information to give real estate photography a try, however, there is still much more to learn! So, stay tuned for additional articles that get into greater detail about the gear, the shooting, and the business aspects of real estate photography. In the meantime, please leave a comment below if you have any questions about real estate (and architectural) photography, or the business behind it, etc.

Thank you again to HDRsoft for sponsoring this article! If you are thinking of getting into real estate photography, or any type of photography that requires bracketing and HDR processing, check out what they can do!

Hone Your Craft and Build a Strong Portfolio

Before you even approach a gallery, you need to be confident in the strength and cohesiveness of your work. This starts with specialization.  While it’s okay to explore various genres, having a niche or a specialized theme can set you apart.  Curation is the next step.  Only select your best shots. Quality always trumps quantity.

Show Off Your Style In An Online Portfolio

If you don’t have an online portfolio yet, that would be a good place to start; it’s one of the best ways to get exposure with art galleries. Your online portfolio should only have your best work on it, with your style of photography easily seeping through. By having a clear message on your shooting style, you’re communicating with the viewer that you are serious about your craft, and art galleries will know if you’d be a good fit in any future show.

In addition be active on Social Media. Platforms like Instagram, Facebook, TikTok and 500px are great for photographers to showcase their work and engage with a wider audience.  A strong reach can play a role in getting your photography accepted at a gallery.

Keep a Portable Resume and Artist Statement Handy

Although your work might be online, it’s always a good idea to have a portable resume with you, whether it be a hard copy or on a memory stick; this is something you will present to gallery owners. Along with your resume, an artist statement is a must (an artist statement is a detailed, but brief summary of your work). Sometimes gallery owners won’t have time to look at your portfolio/resume, but will definitely read through your artist statement. That might make a difference on whether you get the gig or not.

Get Your Photos Judged

One of the key elements in advancing your career and getting your photography on the plain view of gallery owners is through exposure. Applying for grants and joining photography contests are one of the easiest ways to get your work seen by high-ranking folks in the industry.

Find a Gallery That Matches Your Style

Whether you’re stopping by to introduce yourself, or sending a consideration email, make sure the gallery you reach out to matches your photography style. Do your research and save yourself some time.

All galleries aren’t the same. Some cater to modern art, while others may focus on landscapes or portraits. Look for galleries whose aesthetic aligns with yours.  Then be sure to understand the submission guidelines. Each gallery will have its unique set of requirements so familiarize yourself with these.

Go To The Gallery and Network

Once you have found a gallery that you think would be a good fit, go to their shows and network. Attending exhibitions and openings give you an insight into what galleries are looking for.   This will incrase your chances of getting your photography displayed at galleries.

Networking is important in the life of a photographer. Who knows, you could end up meeting the gallery owner!  You can also join photography groups to engage in discussions, workshops, and photo walks to connect with peers and potential mentors.

Consider Group Exhibitions

Starting with group exhibitions can be an excellent way to dip your toes in the water.  These collaborative experiences allow you to work with other artists, which can be a learning experience.  It’s a more relaxed environment compared to solo exhibitions.

Pitch a Solo Exhibition

With experience and a bolstered portfolio, you can approach galleries for a solo exhibit. Remember, galleries are more likely to entertain a solo exhibition if it revolves around a cohesive theme or story.
In addition, don’t be afraid to promote yourself. Be ready to discuss your journey, what makes your work unique, and why it’s a good fit for the gallery.

Be Open to Consignment Opportunities

This is where the gallery displays your work and takes a commission only when it sells.  This is less risky for galleries, making it an attractive option for them.  While the gallery takes a cut, you get a platform without any upfront costs.  This method lets you get your photography displayed at galleries without requiring the gallery owner to take a risk.

Keep a Common Theme

As you submit your work for consideration, make sure you keep a consistent theme throughout your photos, and that it also coincides with your artist statement. Don’t just throw in a bad picture just because it fits, make sure you’re presenting only your best work, and keep it organized.

Final Thoughts

Remember that persistence is important. It is a quality that will set you apart in a sea of talented photographers. Don’t give up just because a gallery or two said no. There are thousands of people out there submitting and doing the same thing, but by being persistent and determined, you will be able to reach a higher ground.

Every photographer’s journey is unique. Don’t be disheartened by rejections; they’re a part of the process. Stay committed to your craft and keep refining your approach, and the right gallery opportunity will come your way.

This article is part of our Learn Photography guide.
→ See the complete Learn Photography guide

Megapixels video tutorial

In just 90 seconds, we unravel the mystery behind megapixels to help you determine whether or not you need more of them.

What are megapixels? A brief definition

Megapixels (MP), which translates to “one million pixels,” dictate how much detail your camera’s sensor can capture. In digital photography, the number of megapixels in an image refers to the total number of pixels that make up the image. To determine this number, multiply the number of pixels in the width of the image by the number of pixels in the height of the image.

The higher the megapixel number, the more potential detail can be captured within an image.

How do megapixels affect image quality?

Generally speaking, the more megapixels an image has, the higher its resolution and level of detail. This is because a higher number of pixels means that the camera is capable of capturing more information.

However, simply having more megapixels doesn’t necessarily mean that the image will be higher quality. Other factors like lens quality, sensor size, color resolution, dynamic range, and more play a role in determining image quality.

Additionally, the level of detail that can be captured by a high-megapixel camera may not be noticeable unless the image is viewed at a large size. For example, the image below was shot with a 12 megapixel Nikon D700 and the image quality is excellent. You can really see the detail when viewing the image online, as a slideshow, or in 10-20″ prints. For these viewing conditions, the 12MP sensor provides more than enough resolution and allows for a small amount of cropping.

When does size matter?

While it’s true that other factors beyond megapixels can compensate for lower megapixel counts, there are situations in which high megapixel counts are necessary. For example, when sent to print, a 20MP file can yield an 18″ wide print without any upscaling in Photoshop or other photo editing software. Yet, how often do you print 12″x18″ photographs? For most consumers, the answer is “not often.”

And for very large prints, the math is more forgiving than most people expect. Viewing distance matters as much as DPI — a 24-megapixel file can produce a billboard-sized print with no visible quality loss at normal viewing distance, because billboards are viewed from tens of feet away, not arm’s length. The print size panic most photographers feel is largely unfounded.

For a deeper look at megapixels and print size, this video breaks it down clearly:

How many megapixels do you need for online display?

Most images end up online, usually on social media. However, online and social media usage rarely exceeds 2MP. That means the other 18MP you paid for never really get seen. Even a 4K display can only present 8MP worth of your photograph.

How megapixels affect cropping

When an image is straightened or cropped in post production, resolution is lost. So, if you crop your images heavily, a higher megapixel count will give you more flexibility.

This also applies if you display an image photographed in landscape orientation in a vertical (or portrait orientation) format. For example, to place a landscape-oriented photo in a vertical slideshow format, such as an Instagram reel, a higher megapixel count will work better.

Who needs more megapixels?

Do we all need $50k cameras that produce 100MP images? Not exactly. Most cameras feature 20-40MP these days, and yet most photographers don’t use their camera to its full potential. A camera with a 20MP sensor will only yield 20MP worth of detail when it’s used by a proficient photographer — meaning the photographer must understand how to maximize detail and resolution using lighting and other means.

Highly proficient photographers seeking cameras that can print directly to large format with incredible detail reproduction, or that provide extreme cropping capabilities, can take advantage of cameras with 30, 50, or even 100MP.

For everyone else, purchasing a 50MP camera is like buying a 600-horsepower car to drive 30 mph. The megapixel war is largely a marketing one between manufacturers, and it has little to do with what most photographers actually need.

When do megapixels matter?

Sheer resolution becomes a factor when enlarging and performing extreme crops. Because detail is more visible when blowing a photo up to a 20×30 inch canvas versus a 4×6 inch print, having a higher megapixel resolution is important in bringing out more crisp details in your enlargements. Also, if you have a 40-megapixel image and need to crop 80% of it, you’ll still have plenty of detail left for that enlargement.

The image above was shot with the 36-megapixel Nikon D800. With this much resolution, there’s plenty of room to crop the image and still produce high-quality photos. The example below is a 100% crop sample from the previous image — there’s still enough detail for posting on the web or even printing.

Similarly, if you’re an advertising or fashion photographer, ultra-high-resolution sensors can mean a lot more flexibility in production. Imagine an editorial photographer taking a single full-length portrait and then creating printable crops focusing on the subject’s facial expression, dress, wrist, neck jewelry, and shoes — all from one shot.

Compared to the Nikon D800, the Phase One medium format camera has more than twice the megapixels, resulting in an incredible amount of detail even after extreme crops.

The image above was taken with an 80-megapixel digital back sensor. Even at just 50% crop, we can still get beautiful details of the model’s face, clothes, and jewelry with enough resolution for a full-page spread publication.

The wild card: re-sizing a high-res image

One more megapixel myth worth addressing: many people argue that downsizing your high-res images isn’t as good as simply having a sensor with lower megapixels in the first place. Comparing image detail and dynamic range, this doesn’t hold up.

If you compare images from the 16MP Nikon D4 and the 36MP D800 — with the D800 image re-sized down to 16MP — you’ll see far more detail in the re-sized D800 file. By re-sizing a high-res image, you do gain a considerable amount of low-light performance, or at least better noise reduction performance.

Can too many megapixels actually be bad?

If you shoot a high volume of images, like for a wedding or action sports, you may not want 4,000 images at 40 megapixels per shoot. A studio that shoots 150 weddings per year may produce over a million RAW images annually. At 40-50+ megabytes per image, that’s 25-30 terabytes of storage. Of course, the average shooter may only need one or two extra memory cards and hard drives — but storage needs scale fast.

Editing speed is the other consideration. A wedding photographer generating 3,000-5,000 images per wedding will feel even a few extra seconds per image compound across their workload. Double or triple the megapixel count, and editing time can increase by quite a few hours per week.

The bottom line on megapixels

Megapixels are one useful indicator of what a sensor can do, but they represent only one of many factors that determine image quality. Lens quality, sensor size, and shooting technique all play a significant role. Whether megapixels matter comes down to how you use your images — and for most photographers shooting for web, social, or standard print sizes, the camera they already have is more than enough.

Standardized Picture Frame Sizes

Standard picture frame sizes refer to sizes that are commonly used in the framing industry. These sizes include  the following:

Standard picture frames are readily available, making it easy to find the right size for your picture. They are also often less expensive than custom picture frames.

Custom Picture Frame Sizes

Frame Sizes Custom picture frames are made to fit a specific picture or artwork size. Reasons for choosing custom picture frames can vary, such as having an unusual picture size or wanting a unique look for the frame. Examples of custom picture frame sizes include circular frames or frames with irregular shapes.

Measuring for Custom Picture Frame Sizes

If you have a picture that doesn’t fit any standard frame size or you want a unique look for your frame, you may need to order a custom picture frame. To measure for a custom picture frame, you need to measure the width and height of your picture, then add an extra 1/8 inch to each measurement to ensure a proper fit. This additional space allows for the picture to fit inside the frame without being too tight or too loose.

Choosing the Right Picture Frame Size

When choosing the right picture frame size, there are several factors that you should consider. Here are some of the most important ones:

Picture Size: The size of your picture is the most important factor to consider when choosing a frame size. The frame size should match the picture size, so it fits snugly and securely inside the frame.

Frame Style: The style of the frame is also important to consider. You want to choose a frame that complements the picture and enhances its visual impact. There are a wide variety of frame styles to choose from, including modern, rustic, ornate, and classic.

Matting: Matting is the material that sits between the picture and the frame. It can be used to create a border around the picture, as well as to add depth and dimension to the overall display. When choosing a frame size, you also need to consider the size of the matting.

Room Size:The size of the room where the picture will be displayed should also be considered. If the room is small, a large frame may overwhelm the space. If the room is large, a small frame may get lost on the wall.

Personal Preference: Finally, your personal preference should also be taken into account. You want to choose a frame that you love and that reflects your personal style and taste.

FAQs

Will a 4×6 Picture Fit in a 5×7 Frame?

A 4×6 picture will not fit perfectly in a 5×7 frame because the frame is too large. However, you can use a mat to fill the extra space. A mat is a piece of paper or cardboard with an opening cut to the size of your picture that goes between the picture and the frame. You can use a mat to add an extra layer of protection for your picture, create a border around the picture, or make the picture fit a larger frame.

To frame an 11×14 picture, you will need a frame that is 16×20 inches or larger. If you want to add a mat or border around the picture, you can choose a larger frame size and adjust the size of the mat accordingly.

What size frame do I need for 16″ x 20″ Photos?  

Due to its larger size, the 16″ x 20″ frame is typically not used as a tabletop frame, but instead hung as wall art. It is ideal for small spaces or walls where it can be grouped with other frames and shelves to create a visually pleasing composition. You have the option to frame pictures without a mat on a 16″ x 20″ frame, or choose a larger frame size to include a mat.

What size frame do I need for 20″ x 30″ Photos?  

The impressive size of a 20″ x 30″ photo is often reserved for fine art photography or wall art. Typically, it is displayed on its own  to give it ample space and draw attention to its unique features.  When framing this size, you can choose to either forego a mat or opt for a 24″ x 36″ frame if a mat is preferred.

What size frame do I need for 22″ x 32″ Photos?  

This size of picture frame is typically reserved for posters, art prints, and statement pieces in a room, making it one of the largest standard picture frame sizes available.  These frames are intended to be a focal point of the room. Due to their already substantial size, these frames do not typically require a mat. However, if desired, a 30″ x 40″ frame can be purchased to accommodate a mat.

Conclusion

Choosing the right picture frame size is essential to ensure your picture looks its best. Standardized picture frames are readily available and less expensive than custom frames. If you have an unusual picture size, you can either choose a custom frame or use a mat to fill the extra space. Measuring for custom frames requires accurate measurements, and a picture frame size chart can be helpful for choosing the right frame size. With the right frame size, your pictures and artwork will look stunning in your home or office.

Note: The information from this article is derived from Course 3 of our Complete Photography Business Training System. a 30+ hour, 4 workshop program to help you build the business of your dreams.

1. Marketing to Past photo Clients for Referrals

Marketing continues to evolve but one constant is the power behind word-of-mouth referrals. According to Nielsen, 83% of consumers say they either completely or somewhat trust recommendations from family, colleagues, and friends about products and services.

All photographers need to incorporate marketing to past clients as part of their workflow. It starts with a great overall client experience, timely delivery of images and making the client feel valued. Beyond that, consider campaigns like sending surprise prints and other gifts to turn clients into raving fans. Consider staying in touch with them via email, social media, and perhaps even in person.

2. Vendor and photography Network Referrals

Regardless of your photography genre, getting the recommendations of other professionals can benefit your business and serve as a consistent source of leads. While different for every genre, these professionals might include make-up artists, model agencies, wedding planners, wardrobe designers and more.

The best way to market to vendors and other professionals is to simply benefit their business in any way you can. This includes referring them business, giving them additional exposure and recognition on your social media, and getting their work published in related magazines.

3. Photography Marketing with SEO and Content

Online search is still one of the most frequent methods of finding services like photography. According to the Search Engine Journal, 93% of online experiences begin with a search engine so incorporating SEO into your photography marketing is essential to long term growth.

SEO for photographers still starts with good content. Create information-rich, useful, shareable content on your website. Answer questions and become a trusted, reliable resource within your niche. Study keyword and link building strategies, understand local (maps) search results, learn about image search results, and more. It sounds daunting, but it’s not rocket science and it’s worth the investment of time and brainpower.

For more information, see our Photography SEO and Web Marketing Course.

4. Social Media Marketing for Photographers

One of the best rules of marketing is to always maintain a presence where your target market is. So depending on your niche, social media could be critical for your photography marketing.  Photographers should focus on the following platforms:

• Instagram
• Pinterest
• Facebook
• Tik Tok

The key is to be smart with your time and understand that sustainable marketing requires a multi-faceted approach. These days, too many photographers spend too much time on social media, stressing about Instagram likes, Facebook shares and other vanity metrics. The goal is to bring social media into your workflow and maintain a consistent schedule.

For more info and specific tips and strategies on growing your social media marketing, see Course 3 in the Photography Business Training System.

5. Video Marketing in Photography

According to Forbes, 90% of customers say video helps them make buying decisions and 64% of customers say that seeing a video makes them more likely to buy.

Creating videos has never been easier thanks to slideshow software like Adobe Spark, Animoto and even Lightroom. So no matter how busy you get, you should try to incorporate some video marketing into your plan this year.

Here are a few quick ideas on how to use video marketing:

• Create a video on a specific subject and upload it to Youtube, making your work discoverable on the 2nd largest search engine.
• Upload videos on Facebook, Facebook stories, Instagram, Instagram stories, Pinterest or even Twitter.
• Use videos to supplement the content on your existing pages on your blog or website.

Here’s an example of a video our photography studio used to supplement an existing resource page.

6. Photography Marketing with Business Directories

Yelp, Weddingwire, Google Business, and Model Mayhem are all examples of online directories intended to connect you with those looking for your services. There are hundreds of business directories, so it’s important to be selective and find the right match for your niche.

Remember the old marketing rule of establishing a presence wherever your target clients are spending their time. If they are on Weddingwire, then you should be too. If they are on Yelp, you should invest some time on your profile over there as well.

For most photographers, it’s worth completing robust, accurate profiles that feature your best imagery on each of the websites that offer free accounts and are related to your niche. When allowed, it may also be worth your time asking your clients for reviews to build up your online reputation.

7. Photoshoot Giveaway Marketing

Giving away your photography services as part of a promotional giveaway can be an effective way to generate leads and awareness of your photography business. Use a promotional giveaway app like Gleam to collect emails, incentivize actions that benefit your business, and drive viral sharing of the giveaway. When done well, these can generate thousands of leads and expand your reach beyond your current network.

Learn all about how to use this strategy in the bonus PDF of our marketing course.

8. Photography Email Marketing

After you’ve collected an email, whether you got it from a giveaway, a lead magnet, or other legal method, sending a carefully crafted series of emails containing valuable information is a great way to nurture the lead with more touchpoints. According to Marketing Week, 15 years ago, the average consumer typically used two touch-points when buying an item and only 7% regularly used more than four. Today consumers use an average of almost six touch points, with 50% regularly using more than four.

To get started with email marketing, sign up for a newsletter service like Mailchimp. Or, if you’re a Squarespace user, utilize their email service. Set up a series of valuable emails to be delivered over time. Set up a form of lead generation (i.e. email collection). And tweak your funnel as necessary over time. For more info on email marketing, see the bonus PDF in our marketing course.

9. Photography Marketing with Awards and Features

Winning awards, getting featured, and gaining other publicity can increase the discoverability and lend credibility to your business.

While awards and features alone won’t likely lead directly to bookings, they can decrease the friction and increase the trust a potential client would have in your abilities as a photographer.

10. Paid Ads – Social Media and Adwords marketing

Facebook ads and Google ads are still viable marketing strategies.  However, they are only recommended if you have the time, experience and knowledge to manage them properly.  These fees can quickly add up and incorrect audience or keyword targeting is the same as throwing your money away.

In addition, with so many other marketing methods that don’t require a financial outlay, spending money for ads should be done sparingly, if at all.  Other methods of lead generation, like SEO and social media, continue to drive leads over time.  The content and the accounts are like assets you own that continue to provide benefits for your business.  On the other hand, if you rely primarily on paid ads, the minute you stop spending is the minute your leads dry up.

Conclusion – How to market a photography business

Like marketing any other small business, there are no shortcuts with photography marketing.  The good news is that we have a surplus of beautiful visual assets that make our product shareable and appealing.  With the right guidance and allocation of time, there’s a great opportunity for success.

Here’s a quick summary of the 11 ways to market your photography business:

• Photography Client Referrals
• Vendor/Network Referrals
• SEO and Content Marketing for Photographers
• Social Media for Photographers
• Video Marketing
• Directories and Online Listings
• Awards, Features and Publicity
• Email Marketing
• Giveaway and Charity Marketing
• In Person Networking Events and Tradeshows
• Paid Ads – Social Media, Adwords and More

We would love to hear from you.  What works?  What doesn’t?  Share your knowledge with the community!

When Do You Need a Model Release?

A model release is needed whenever you take an image of a recognizable person or identifiable feature (such as a tattoo). If you are photographing a property, you may need a property release form signed by the owner of the property. It doesn’t only apply to professional models, but to anyone who is being photographed.

Why do You Need a Model Release Form?

A model release form will protect you against civil liability lawsuit should an issue arise later on. It protects all parties involved, including the subject being photographed. It will also be needed if you decide to license at a later date. You should save all your release forms in case you need them in the future.

Model Release Download

For your convenience, we’ve created a download for you to edit (for free). Download below by subscribing to our newsletter.

The full text is listed below in this article, but if you want a Microsoft Word Version of the photography contract, fill out the form below.  Just sign up for our Newsletter to download the FULL contract bundle for free, including three different contract samples

1. The Client Contract
2. The Model Release
3. The Second Shooter Contract

Simply download below, scroll through to find which contract best suits your needs, select and save, and modify! These free contract samples are designed to help you pave your way to professionalism.

Free Model Release Form Template

Here is some of the verbiage I include in my model release form:

• I hereby assign full copyright of these photographs to the above-mentioned photographer (and the related representatives and assigns) together with the right of reproduction either wholly or in part.
• I grant to the Photographer or licensees or assignees the permission to can the above-mentioned photographs either separately or together, either wholly or in part, the perpetual and  irrevocable and unrestricted right to use and publish video and/or photographs of me, or where I may be included for editorial trade, product advertising and such other fashion /business purpose in any manner and medium.
• The Photographer and licensees or assignees may have unrestricted use of these for whatever purpose, including advertising, with any retouching or alteration without restriction.
• I agree that the above-mentioned photographs and any reproductions shall be deemed to represent an imaginary person, and further agree that the Photographer or any person authorized by or acting on his or her behalf may use the above-mentioned photographs or any reproductions of them for any advertising purposes or for the purpose of illustrating any wording, and agree that no such wording shall be considered to be attributed to me personally unless my name is used.
• Provided my name is not mentioned in connection with any other statement or wording which may be attributed to me personally, I undertake not to Prosecute or to institute proceedings, claims or demands against either the Photographer or his or her agents in respect of any usage of the above-mentioned photographs. I hereby release the photographer named above from all claims and liability relating to images, video or photographs taken of me.

Free Model Release Form

For your convenience, we’ve created a download for you to edit (for free). Download Here by subscribing to our newsletter.

Other Recommended Resources

Lawtog is a great place to find photography contracts.   See their offers here.

Disclaimer

The following free model release form has not been reviewed by a lawyer. It is provided for free to the community and is intended to be a guideline rather than a comprehensive, complete contract. Furthermore, many of the provisions may not be applicable depending on the type of studio you operate and the location in which you operate. It may also be missing provisions applicable to your type and location of photography. SLR Lounge is not responsible for any damages, lawsuits, or disputes that may arise from the use of this model release form template.

For more tools you can use for your business, here is our Photography Contract Template.

Night Portrait Photography Tips Video

Let’s start out our nighttime photography learning with this video tutorial on “Night Portrait Photography Tips.”  Most of the tips in this article are based on those presented in this video.

6 Night Photography Ideas

1. Simple, Soft, Diffused Flash
2. Constant Light
3. Whip Pan
4. Streaks of Light (Shutter Drag)
5. Back Flash (Silhouette)
6. Back Flash (Inner Warmth)

Night Photography Idea 1: Simple, Soft, Diffused Flash

While a single speedlight with a softbox would not be able to compete with the sun during a daytime shoot, that setup provides plenty of power for lighting subjects during the evening.

To figure out an adequate power setting on your flash, start with the inverse of your ISO when shooting wide open (e.g. f/2 or f/2.8). In other words, if you’re shooting with an ISO of 1600, set your flash power to 1/16th. Other factors such as distance of the flash from your subjects and aperture will affect your settings and outcome, but this general rule provides a great place to start.

To capture the image above, we placed the light 45-degrees to camera left. We dialed in our settings in camera to leave the ambient light in the background a little darker so that the subjects would pop out from the scene.

Let’s review one more example of this technique from the same engagement session.

For this photo, we use the same lighting technique as the first image, with a speedlight and a softbox, but we also supplement the lighting with an off camera flash behind the subjects to illuminate the water. Night photography ideas like this give you a beautiful diffused light source which avoids any harsh highlights on the skin.

Night Photography Tip 2: Constant Light

Using a constant LED light, like the Westcott Ice Light for example, is another alternative for illuminating your subjects when photographing in the night. While an OCF with an umbrella or softbox produces more of a diffused light, a constant light is a bit more portable and still gives you a smooth transition from light to shadow. The main issue with using an LED light is that it might not illuminate enough of the body, making it harder to get full body images. You also might face the issue of not having a strong enough source of light compared to an OCF where you can adjust the power.

Idea 3: The Whip Pan

The best part about shooting night photography in the city is having plenty of ambient light available, especially in the dark. Using city lights as your backdrop, there are a plethora of possibilities to be created in-camera that are sure to wow your clients.

The “whip pan” is one of our favorite night photography ideas on the list.  The effect creates interest by panning the camera left and right while the shutter is open to add motion into an image.

Whip Pan Directions: 

• Look for an area where city lights are visible, preferably closer to your subjects than further to increase the emphasis of the effect.
• Set your camera on a tripod and slow your shutter to around 1/2 second.
• Set your flashes to Rear Curtain Sync to ensure that the subjects are flashed as the shutter closes.
• Place your subjects in the darkest area of the frame.
• Instruct your subjects to hold still.
• Position a backlight (a single speedlight on a light stand) directly behind the subjects to create a “rim light” (or outline) around them.
• Loosen your tripod head and press the shutter, then quickly pan in one direction to capture streaks of light.
• Adjust your shutter speed until the light trails are the length you’re looking for.

You may need to create a composite using a plate shot during post-production to get the exact look you want.

Tip 4: Streaks of Light (Shutter Drag)

Long exposures are another easy trick to try for city photography. Capture the motion and movement of downtown cities by simply slowing down your shutter speed and freezing your couples with flash.

Similar to the whip pan, this technique for long exposure portraits requires a slower shutter speed. The biggest difference here, however, is that the motion will come from the lights on passing cars rather than the movement of the camera. Here’s a quick breakdown of how to capture the above image:

Directions: 

1. Set your camera on a tripod and slow your shutter to around 1-5 seconds.
2. Instruct your subjects to hold still or freeze them with flash.
3. Place your camera on tripod.
4. Position the camera so that the frame can capture passing cars (you do not need to stand—nor should you stand—in a dangerous place to achieve this).
5. Place your subjects into the frame so that you can see the busy movement of the city around them.

Night Photography Idea 5: Backflash (Silhouette)

Silhouettes are creative night photography ideas that you can execute to achieve incredible results. Simply place an off-camera flash behind your subjects and face it either toward a textured wall behind them or towards them. Make sure your camera settings allow for just enough ambient light to be seen surrounding your subjects.

To capture the image above, we also used a technique known as shooting “day for night.” In other words, we made the ambient light look darker and cooler (more blue) than it was in reality. We used CTO gels over the flash units to warm the light color coming from the speedlight. We also dialed down the in-camera white balance to cool the overall image without over cooling the light behind the couple.

Night Photography Tip 6: Backflash (Inner Warmth)

There really isn’t a technical term to describe this particular shot but the end result gives meaning to the phrase ‘inner glow’. This shot works best if one of your subjects is wearing white or a light color so that the flash can bounce off their shirt and be diffused. The tight composition and flash to ambient light balance really work together to create a unique and unforgettable image.

Varying the distance between your subjects and the flash can dramatically change the shape and look of the light in the image. To create the “blooming backlight” featured in the image above, we placed a speedlight directly behind our subjects. The speedlight should be aimed toward the chest of one of the subjects, preferably the one wearing the brightest shirt. This will help bounce the light so that it wraps around the subjects.

In order to avoid overexposing the subjects and capturing too bright of highlights under their chins, do the following:

• Pose the subjects so that they’re facing one another (closed pose) with their heads leaning in and their eyes closed.
• Add a grid to the flash to minimize light spill.

Conclusion

I hope you enjoyed these 6 night photography ideas and put them to good use during your next nighttime photo session. Don’t let the setting sun set limits on what you can do with your photography. Dive deeper into your flash photography education with our complete Flash Photography Training System, which provides everything you’ll need (except the flash gear) to master flash no matter whether you’re shooting day or night.