Tips and techniques for photographers at all levels. Covers digital photography and image manipulation with Photoshop.
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Available for local and destination weddings and portrait sessions. Each project is different, so contact me for an exact quote. Portrait sessions start at $300 and wedding coverage begins at $3,000. Typical wedding fees are about $5,000 - Send an email to me.
On Tuesday, I had an opportunity to do some portfolio work for a Southern California model named Nishi. While I'm a Lakers fan, I sort of like this image.
The image is straight out of the camera - D700, 50mm, 1.8, 1/30, auto WB, ISO 200. Light is from two Nikon Speedlights - an SB-800 camera left, with a Gary Fong Lightsphere and an SB-900 to camera right, using the pull-up white bounce card into a large gold/white herringbone reflector.
AN ESSAY ABOUT RECESSION-PROOFING YOUR BUSINESS - by Gary Fong
(I didn't write this. It was written and first published by Gary Fong, on his blog, yesterday -- there is a link at he end of the article)
I've been in business through two recessions. Business proceeded in a healthy way and my numbers continued to grow. I had to do some adaptation and what really saved me was getting prepared before the pullback arrived. Here's what I did:
1) Photography-related services - relationships are recession-proof. In fact, in hard times the referral base became even more loyal and devoted. Rocky Gunn gave me the simplest, best advice I have ever gotten in a single sentence... "nobody needs another salesman knocking on their door, but everybody could use a good friend". In rough economic times, good friends are even more valuable. My transcriptionist is really good. And I just wrote her an email and it said, "you're so good, I'm going to use you FOREVER!" Customer supersatisfaction is recession-proof.
Family is even more valuable. It is SO easy for a photographer to make a huge increase in revenue by simply adding new revenue streams to an existing business. Here's a great example:
I have a friend who is an amazingly successful photographer here in Los Angeles. His name is Joey Ikemoto. His business does close to a million a year. He has an unbelievably loyal clientele among the Japanese American community. He has been in business for probably 25 years and went through the same recessions I did.
One day I was visiting him at his former little studio in a strip mall, about 23 years ago. He had a huge staff of photographers, and he was doing something like 200 weddings a year with a healthy average. He shot many of these himself, and his business was all referral. While all this was going on, he actually had a full-time job as an x-ray lab technician at the local hospital! He was making something like $30,000 a year working this job, while his business was grossing in the many hundreds of thousands. I asked him why he had the job, and he said, "security". So I got out a calculator and said - OK, let's just assume you sell one additional parent album to each of your weddings. Say you had a $195 special for parent albums, and include some of the unused proofs in your orders. There's $40 grand right there.
It was wild, but that suggestion really registered with him. He quit his job, focused his energy full time on his studio instead and expanded it greatly with intensely higher profits. He now has one of the largest, and most beautiful studios in California.
If I were a photographer today, I would simply add new relationship-sensitive low-initial-cost portrait sessions to my offerings. If you have a loyal clientele anyway, who love you as a person as well as a photographer, then it is a super easy thing to collect them in front of your camera again. Missy brings her Canon with the L lenses to horse shows, and a lot of people come up to her asking to see the images online, which result in sales, completely out of nowhere.
I remember when I did children's portraiture. I did it differently, we would just go to a park with the mom, and I would make it a point to not shoot right away, and just talk to the mom. Ignoring the child at a playground is a guarantee that this kid is going to be a performer. The more I acted disinterested, the more they would go, "Hey Mom! Look at me go down this slide!" Then they would try harder and harder to show me how awesome they were. This is when I would start shooting, and I would get the most awesome photos of the kids.
While at the playground, I'd show the LCD of the image to the kids, who would go wow, and the mom would go wow, and the next thing that would happen is another parent would come up to me at the playground and ask for my card. I would give them my website address, and a link to today's session on Pictage. This would turn into another session - so long as the shoot fee was low. Then I would let the prints sell themselves.
In a recessionary economy - remember that people become very negative and careful with their wallets. So having a large up-front fee is most likely going to result in an empty calendar. I would much rather shoot on spec than with a large upfront fee. While that may work with the ultra high-end customer with a lot of discretionary dough, it's still risky. I remember that I used to do engagement sessions for $15. That's right, fifteen bucks. And I always sold nearly $300, and it took me not even half an hour to do. Same with weddings. Having a low up-front fee and selling a large volume of images once I 'owned' the right to sell them exclusively was my ticket to prosperity. Later, I would do high-end stuff, but that took years to earn that clientele. I had it great from the very beginning by starting with a low fee, predesigning albums, and selling reorders. My calendar was completely full, and my average sale was multiple what other studios were getting.
Another thing I want to add, I never paid to advertise my studio. I never did ads or bridal shows. Those are so expensive and what they do is bring you a skeptical prospective customer. They're skeptical because they found you through advertising. So not only are you spending money on attracting the wrong kind of client (the client you REALLY want is the one who heard that you are the best friend they never had, with a camera and a smile!) Who would you rather meet with? The awesome person who shot your best man's wedding, or someone who you saw in an ad in a magazine? Exactly!
When things got hard for me, I put extra effort into improving customer satisfaction. If every client who uses you drags two people by the ear into your business and insist that their friend use you, your business will grow regardless of the economy. Think about it - we all know a business or service that we swear by- tell all of our friends about, right? BE THAT BUSINESS! And you will have a clientele that will remain solidly, stable and growing.
I know how to play a recession, even a deep one. The first thing I did in my products business was start to develop lower-cost products like the $19 Puffer or $29 Origami. Sales were up 194% YOY for GFI because of this. I knew that there would be a risk with higher-end pro lighting attachments like the Whaletail or Lightsphere, so I started preparing to market smaller trinkets.
I would do the same with photography. I'm not saying lower your prices in response to a recession, I'm saying buffer up the consumer fanaticism (loyalty) by endearing yourself to your clients. Foster that referral, and then have products which have a low-cost entry point. Once you produce beautiful images, sell the images and not the session. Increase the volume, diversify your offerings into more types of portraiture, and you will be fine. In fact, overall I would say you could prosper in hard times.
Just a quick video on how to attach the Gary Fong Lightsphere-Universal to your flash. It's a one-size-fits-all (up to 2 x 3.5 inches) light diffuser, perfect for your hotshoe-mounted flash. Currently available only as a Cloud. Since it fits so many of the most popular flashes, you don't have to buy different sizes to fit all your flashes.
"Hi I am looking to buy two lightspheres for my 2 Canon 580EX II flashes that are mounted to light stands for quick off camera flash portrait setups. Would you recommend the clear or the cloud for this type of setup or would the whaletails be better suited for this. Thank you" - Tony
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Tony,
The whaletails give the most versatility. That is what I prefer for studio use. If you go with lightspheres, I would use the Cloud as your main light. Another Cloud or Clear is then your background or fill light.
One thing -- the Gary Fong website has an error. It lists the size 4 for the 580X-II. Actually, that is for the older , and smaller 580EX. Most people are getting size 2 for the mark II.
Gary just introduced a lightsphere-universal (has a one-size-fits-all mount), at PhotoExpo+, last month, in NY. It is only produced as a Cloud, but it will fit a variety of flash models. Unfortunately, he sold out at the show and won't have them in his eStore for a couple of weeks.
Whaletails are in stock. If you go that route, get a Studio for your main light, and a Reporter for the fill/background.
This is going to be Spanish Day on the blog - the first post is a video explaining how to use the Gary Fong Lightspher flash diffuser.
The second video is an explanation of foofing, by one of the top wedding photographer in the world -- Denis Reggie. If you've ever heard the term "foofing", here's the master:
A number of years ago, I was one of two partners in a small, regional ad agency. We served a number of local hospitals, some ethnic food distributors, and the formed phone company - Pacific Bell. Our annual billing was just over $1 million. That's not a lot of money for an ad agency, but we were small and had low overhead.
My partner was the 'outside sales rep' -- he got the doors open so I could make presentations. We had some contract graphics designers and a copy writer. I also did copy writing, produced videos and TV commercials, and handled the commercial photography.
We won a few national awards, but, in the late 1990s, many local hospitals were being acquired by hospital management companies and many small hospital groups were being bought by larger groups. Each time this happened, the larger company would have their own ad agencies. Sometimes we were able to compete with the bigger ad agencies, and sometimes we weren't even given the opportunity.
Eventually, we decided to close the agency. Actually, I stayed on for a while, because I had a studio attached to the offices, but that, eventually, became much more than I needed. My expenses were over $4,000 a month. Even now, that's a lot of money, but prior to the year 2000, I rally had to attract a lot of clients to justify it.
I just didn't enjoy the constant beating of the bushes to get and keep advertising clients and when I got new clients, it was a full-timer job to service them. And, honestly, I just wasn't all that happy doing 'commercial' photography.
Once I decided to close the doors, I didn't have daily access to a well equipped studio, so I began to think of other ways to make money as a photographer.
Weddings and other events became the answer, but you don't just decide to be a wedding photographer, on Wednesday, and have a job on Saturday. People book their photographer 6-18 months before the ceremony. Fortunately, I had always shot a few wedding every year, so I had some work on the books, but I needed to generate some cash almost immediately.
I remembered going to an amusement park and while standing in line, a photographer came down the line, snapping pictures and handing out a small card. Now, this was pre-digital, and there was a kiosk where you could go to see the pictures. They would give you a small print, make a pin-on button, and a few other trinkets. Then I remembered seeing an old photo of my parents. It was a black and white, taken in a nightclub at the end of World War II. It was probably a 5x7 or 8x10, in a folder with the name of the club on it.
How many times have you gone to dinner and a pretty girl, with a basket of roses approached you?
I picked two local restaurants and approached the owners. They were both family owner places - not large chains. I talked to them, offered 10% of anything I made, and one agreed immediately.
I didn't go to the expense of having custom folders made, but I printed some flyers. On the flyers, I show three sizes: 4x6, 5x7, and 8x10 - I used an actual photo and just overlaid the smaller sizes on top of the 8x10. I though that was better than just drawing an outline. On the flyer, I had y web address. I didn't yet have an ecommerce site, so customers had to call or email. That was almost eight years ago, Today, it would be a lit easier. Everyone has internet access and ecommerce sites are inexpensive or free, and almost automatic.
OK, so here's what I did. After getting an agreement with the owner, I showed up at the two busiest nights - in this case, Wednesday and Saturday. After a few nights, he agreed to put a flyer and a small poster board display of images from the previous evenings. People would stop and look at them and even ask what nights the photographer was available!!!
I'd dress nicely - usually a blazer and open-neck dress shirt. Check the style of the customers and dress in a similar fashion. The best time to approach a table seemed to be right after the dinner order was taken. Once the food arrives, people don't want to be bothered -- and they my has spinach in their teeth :-).
I didn't normally ask if they wanted a photo. I'd just motion for them to squeeze together. Nearly always, they'd do it. At times, I could sense that they didn't want a record of the occasion. That might have been when they were having dinner with someone they weren't supposed to be having dinner with!!
I'd hand them a flyer -- with a business card stapled to it - and tell them that their samples would be online with about 4 hours. Surprisingly, I would get orders that night.
I won't tell you that I ever got a lot of repeat business from those couples - none ever called me to shoot their wedding - but I did get some birthday parties and a few family portraits. As my website improved, my volume of 'add-on' inquiries did increase. Also, I think that most of the restaurant's clientele were married couples and families. Had I picked a more 'romantic' location, I might have gotten other types of work.
After about 3-4 weeks, I went back to the other restaurant - the one that turned me down - and made a second presentation, based on my experience at the first place, and they agreed, so I added Friday evening and Sunday brunch.
I only did this for about five months. In that time, I was finding corporate events, more weddings, and even some commercial work from previous clients, so I decided to give myself some nights off.
Was it enough to pay all the bills? No, not at that time. Probably not now, either. But, today, it is much easier. You have many more ecommerce options. You could even use your laptop to set up a slide show, if there is space near the register. One of my former interns does this. The restaurant is so supportive that they even allow the customers to add the print sales to their dinner checks. She feels that this is the perfect way to do it. People are happy, feeling good, and have their credit cards in their hands :-) This venue has a trio that plays music throughout the evening, and they make several announcements about the photographer and the slide show.
She says that she does make enough, each week, that she can cover the cars payment. Money from the other weeks goes into her equipment fund. So far, she managed to buy new laptop and a spare camera body.
If you are just starting out, or looking for a way to keep your day job, while getting some experience this is an inexpensive way to get started.
I'd love to hear of your experiences.
OK, what do you need to get started? First, any consumer level digital SLR. I prefer Nikon, so a Nikon D80, would be a great choice. A kit lens will work - the one that probably came with your camera. Most of the lenses that come with today's DSLRs are zooms with Nikon 18-55mm or 70mm focal range. I used a Nikon 24-120mm. You'll need a decent on-camera flash. For Nikon, consider the SB-800 Speedlight-- or SB-600 (Not the SB-400). You don't need a flash bracket, but you will want a Gary Fong Lightsphere or Gary Fong Whaletail. If you are just starting out, I'd go with a Cloud Lightsphere. If you have lots of experience with flash - and bouncing the flash (or want to use multiple, off-camera flashes) - consider the more versatile Whaletail.
Scroll down this blog for a couple of videos on how to use the Lightsphere or Whaletail.
One of the questions I most often hear, regarding Gary Fong light diffusers is: "What's the difference between the Lightsphere and the Whaletail?"
Both the Lightsphere and the Whaletail are flash diffusers -- they are designed to soften the light of hotshoe mounted flashes. In many ways, they provide studio quality light -- without the studio.
The first Lighsphere was a hard plastic, translcent body with an external (convex) dome -- a bubble top -- that snapped on the top. It offered a wonderful, soft light, but it was bit heavy, it was difficult to get a perfect fit, and the external dome sometimes stuck out beyond the lens hood, and created lens flare. Still, it was like nothing else available, and allowed many photographers to acheive results never before seen outside of the studio (or without using large lightstands, umbrellas or softboxes). In that sense, it was revolutionary.
Original Lightsphere
I'm not certain when they were first realesed, but I bought mine sometime in 2002 or 2003. In the Fall of 2005, Gary Fong replaced the original Lightsphere with a pliable, vinyl version. Interestingly enough, both the original and the replacement were called the Lightsphere II. In fact, Gary had been developing light diffusers for his own use for several years, so what we now call the 'original Lightsphere' was actually in a chain of evolution that still continues.
The 2005 model came in two versions: Clear (photojournalist) and Cloud (portrait). Both had 'photojournalist' embossed on them because they came from the same molds with only the color of the vinyl changing. The Clear was a transparent vinyl, while the Cloud was translucent.
Cloud (L) & Clear (R) Lightspheres
There were two major design changes in the '05 models. First, the top fitting dome was changed from convex to concave: It now fitted inside the body of the Lightsphere -- and was called the Inverted Dome. It was a hard plastic, frisbee looking device and was translucent. It was the same color dome for both the Clear and the Cloud Lightsphere. The second change was in the way the Lightsphere attached to the body of the flash. It came in four sizes and had a combination of different size ribs that gripped the flash much like a swim fin fits your foot. This solved most of the fit problems without the use of any adapters or gaskets.
Gary Fong was a wedding photographer for twenty years. He was a well know speaker and instructor, within the photography industry and the primary users of his Lightspheres were other professional photographers -- especially wedding photographers. These new Clear and Cloud Lightspheres were so popular, that by the beginning of 2007, there were over 90,000 in use, worlwide.
In March of 2007, at the WPPI (Wedding and Portrait Photographers International) annual conference in Las Vegas, Gary introduced a new flash diffuser called the Whaletail. Readers of Gary's blog were anticipating this release for months as Gary presented preliminary drawing for 3-4 months, before the official introduction.
Whaletail
The demand, on the conference floor, was so great that he immediately sold out his entire inventory and it was months before he could catch up with the demand. Even at this writing, there are sometimes shortages. New manufacturing capacity is expected to come online this Fall (2007).
The Whaletail is not a replacement for the Lightsphere. In fact, the Gary Fong Lightsphere is still the top seller. However, the Gary Fong Whaletail is more versatile than the Lightsphere. While the Lightsphere has one opening -- on the top -- and you can either have it open, or covered by the internal dome, the Whaletail has two openings. One is on the top, and the other is on the back -- or on the front. This is completly up the the user. Many flashes swivel 180 degrees, so it is very easy to change the position of the second opening. Since the Whaltail is attached to the flash with a hook & loop (Velcro) cinch strap, if your flash does not swivel, it is a simple matter to take it off, turn it around, and reattach the diffuser.
Studio (L) & Reporter (R) Whaletail Light Diffusers
Instead of a snap on cap (dome), the Whaletail uses two hinged flaps. These flaps can be adjusted to any setting between fully open and fully closed. This means that the photographer can vary the ratio of direct light to bounced or diffused light, giving a wide range of creative lighting contrtol. The Whaletail comes in two sizes: The smaller Reporter and the larger Studio. Both are made of a translucent white plastic.
If you are reading this, you are probably a photographer, and will appreciate pictures over words, so I made a short video, showing the Lightsphere and the Whaletail models.
One mistake that I made on the video -- I say that the Whaletail will fit any rectangular flash up to 2x3 inches. In fact, it will fit up to 2x3.5 inches.
I always have a camera nearby, but I don't always want to drag out external flashes and diffusers, if it's not a 'job'. For family gatherings, a walk in the park, or just when I see a shot that I want to grab, sometimes I'm left with only the camera's pop-up flash. In most cases, that little light bar is too harsh, and I just prefer not to use it.
Well, Gary Fong has changed all that with the Puffer. The Gary Fong Puffer is a small diffuser that slides into the camera's hot-shoe and converts it into a serviceable flash for those moments when you don't have other options.
It won't fit every camera, but if your camera has a standard hot-shoe right behind the pop-up flash, you are in business.
In the previous post, we answered an email question from Frank about attaching a Gary Fong Lightsphere flash diffuser to his Canon 580EX. In this post, we answer a voice mail question from John. He wants to know how to attach a Gary Fong Whaletail flash diffuser to his Nikon SB-800.
" Hi - Saw .... diffuser at a wedding this weekend. Did not disturb the photographer but I am interested in how this attaches to my flash and how the unit holds together. Can you help me or direct me to a location on your site? Thanks
Frank"
Good question, Frank. There is a tutorial DVD that comes with the Gary Fong Lightsphere, but if you haven't purchased, yet, that doesn't help you :-)
So, I made a quick video to demonstrate how to attach the Gary Fong Lightsphere, and also show some of its accessories. Hope this helps.
Last week, I had an on location job. I took a couple of Gary Fong Whaletails, so I made three videos to show what I took, and how I used them. The first explains what I had to take prior to using small flashes. It then shows what I use, now.
Parts 2 and 3 give more detail on how I lit the subjects and shows some samples.
The original videos are posted on youtube. Youtube is a great concept, but there isn't much production value. I capture the video with an elderly analog Hi8. I then convert to analog into video and import it to a MAC Mini. From there, I use iMovie to put the video clips and stills together. The result is a rather grainy and out of focus looking production -- I hope you can get some information from them!!
I get lots of questions about how to use the Gary Fong Whaletail flash diffusers to replace studio lights.
This video demonstrates the use of two Whaletails -- a Reporter size and the larger Studio size -- in a simple two-light studio setup. The session takes place in an apartment living room. Only about a 10 foot wide area was necessary - in order to allow for a simple black muslin backdrop.
It occured to me that other might have a similar question, so I made a quick video.
The Question:
I was checking on your site for settings and suggestions for owners of the Whaletail and a Canon 400D (XTi). I recently received my Whaletail and am enjoying playing around with it; but I am experiencing some lighting issues. I own two lenses. One is the Canon 1.8 50mm and the other is the Canon 17-85 EF-S f4-5.6.
The manual states to put the camera on Aperture Priority and set the F-Stop from 2.8 to 4.0, with an ISO of 400 to 800. Problem is that only one of my two lenses even goes that low, and that's my 50mm. I'm also noticing that my camera, even on program mode, dips below a flash shutter speed of 1/60.
This means I get a bit of blur, sometimes a lot of blur. I'm sure most of the purchasers of this product are professionals and have fully professional equipment. I'm still learning my XTi and I know it isn't professional grade and neither is my 17-85mm lens. yet, I have a suspicion there is a way to make this all work right even with my limited equipment.
If you’ve been reading this blog for a few months, you understand that our whole marketing strategy is about getting ‘wows’ and ‘raves’ from the client. Go back to the April posts and read the 4-part series on how to get your photography business online, for an overview. The foundation of this philosophy is routed in world-famous photographer Gary Fong’s Getting Rich as a Photographer, 2-DVD set.
Gary was a trendsetter, and unique in his approach to the business of photography. He recognized that photography is a competitive business, and new ideas are necessary to keep one step ahead of that competition.
Today, I’d like to make you aware of an idea that can do three things for your wedding photography business:
1. Book more jobs 2. Make more money 3. Create more “wow”.
Before I ‘reveal’ the idea, let me tell you what I have been doing for several years. Anytime someone books me (pays a deposit) for a wedding, I offer them a FREE engagement session.
There are several reasons for this, but, primarily, it is to allow us to get to know each other. I’ve always thought that it is better to photograph a wedding as a friend, than as some hired gun shooter from the internet. (I also encourage you to go to rehearsals, if possible).
Now, since I don’t ‘include’ the engagement session in my wedding ‘package’, I present it as my gift to them. We spend about 90 minutes, usually on a Sunday morning in Laguna Beach, CA. I provide them with an 11x14 inch print, that they can have framed in a signature mat, for display that the reception. Since this is a FREE gift, I never have to worry about scheduling, travel to locations, etc. It’s a gift and they need to come to me. Of course, after the shoot, I do offer them a chance to have a Guest Book made from the engagement session images. Normally, I place 1 or 2 images on the right page, and leave the left side black, for guests to write little notes. An inexpensive way to do this is through mypublisher.com. I charge about $250 for these.
Here the BIG IDEA. I’m sure that other photographers are doing it, but I first heard about a photographer in Santa Barbara, CA – Damian Langere --. He does Fashion Engagement Sessions. Rather than just a few wardrobe changes at the beach, Damian puts his couples through a complete ‘make-over’. He hooks his bride and groom up with a style consultant, who helps them pick the wardrobe. Then he schedules them for a ‘hair and makeup’ session. When the couple is ready, he does a fashion style photo shoot using multiple locations in the Santa Barbara area. Here’s a video that explains it all.
This is a step-by-step guide to getting your photography business online.
I will give you some free resources, and some that are not so very expensive, especially if you don’t have to invest in them, all at once.
Step one is to get an overview of how to run your business. The best resource is Gary Fong’s “Getting Rich as a Photographer”. While not free, it is the single most important tool in your camera bag. Written specifically for the wedding photographer, it has lots of good information for all photographers, regardless of your specialty.
I’m not going to cover everything that Gary mentions in his DVD, but I will tell you that you have to have a web presence. We’ll use the example of a Saturday wedding. By Sunday evening, you will have designed a collage from the wedding and posted it online. While you can create the collage using one of several pieces of software, my suggestion is to use the Album Designer and Collage Builder – also available from Gary Fong. If you are seeing a pattern, it’s because Gary was a well-know wedding photographer, for 20 years. Recently retired, he has been inventing and discovering tools to maximize his profits as a photographer since he entered the business. In recent years, he has made these tools available to photographers, both professional, and aspiring, from all over the world.
If you don’t have a website, yet, you may be asking how you are going to put your collage online. The answer is with a free blog. There are other sources, but I use blogspot.
When you apply for your free blogspot account, you will have to choose a name: www.yourname.blogspot.com, so it is important to pick a name that you can also use for your website. Even if you don’t have a website, yet, you can reserve a name (a domain name). You can check on name availability, and sign up for a web hosting account at many places. I use HostMonster.
Reserve your name, as soon as possible – even if you don’t sign up for a hosting account, you will want to reserve your website’s name. Let’s say that you registered “johndoephotography.com”. When you create your blog, you will use the name “johndoephotography.blogspot.com”. If the name you want is already taken, try using a hyphen: johndoe-photography”.
Back to the collage. Your collage can be approximately 12-20 images from the entire day, or just a portion of it. Often, you will have a series that tells the story of a particular portion of the day – for example, the cake cutting. It may be less the 12 photos, but it can make a nice collage. Put it on your blog, along with a paragraph or two about the couple, or the big day.
Be sure to have email addresses for the bride and groom, their parents, and members of the bridal party. Tell everyone to check his or her email on Sunday evening. Not only will the collage be a big hit with the bride and groom, but it will get your name in front of many of their family members and friends – some of whom my be looking for a wedding photographer in the near future. People buy form those whom they know and like. By getting to know family and friends, and showing them your great work, you will have the inside track when they are looking for a photographer.
This is the end of part one. If you haven’t already done it, register your domain name and get a blog started. For your first entry, just introduce yourself. Talk about your love for photography, the reasons you became a photographer, your specialties, your family, your dog and cat – anything that makes you human and give people a reason to like you. Put a photo of yourself on the blog.
In a following post, I’ll show you how to put a display album online and how to put all of your proofs online, at no charge. We’ll also discover how to create an e-commerce site so that you can sell photos to wedding guests and you will not even need to have a merchant account to accept credit cards.
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