Building a portfolio of stock photography is a daunting task. Many new photographers ask where to begin, so here is a short list of photo sessions you can use. I have tried to keep them generic enough, that you have room to interpret each one in your own way.
When shooting these, try to get 200 shots done for every session. In the previous article, I mentioned a 1:10 ratio, meaning that you should only upload about one in ten shots to your portfolio, in order to keep it varied enough. I also said that new photographers should expect around half of those images to be accepted. So, if you shoot all five sessions described here and upload according to this, the average beginner would come out with about 50 pictures in their portfolio. A good start for anyone.
Each session should take no more than one day to shoot and sort, and another day or two for processing and uploading. By days, I don’t mean full work days, but something you could fit in to a normal schedule without having to quit your day job. A good goal is to aim for one complete session a week, which should leave you enough time to prepare and have a social life at the same time.
Session 1: The Photosafari
Description: The idea is to go somewhere and walk around with your camera out, ready to shoot whatever you happen to spot. You can use your own neighborhood or somewhere else, but it’s important that you travel on foot during the actual shooting.
Good shots: Textures, landscapes and architecture. You might be able to get some good abstract shots as well.
Pitfalls: When on photosafari, it’s very easy to start firing off snapshots. Try to avoid this by thinking about each shot. Lighting is all important as well here, and you will be dependent on the weather a lot.
Gear: Good walking shoes. You might also want to bring a tripod, if you’re planning on shooting sunsets or dimly lit areas.
Session 2: Seasonal Still Life
Description: Pick your favorite season and gather about 10 or so props to go with it. Set up a nice background and set up a number of different shots, shuffling your props around as you go. Try not to use more than 4-5 props at a time, to avoid cluttering your photos. As an example, you could pick Valentine’s Day and use props like: Chocolate, flowers, heart-shaped giftboxes, jewelry, cards (watch for copyrighted artwork on those) and whatever else you can think of.
Good shots: Shallow depth of field, rich lighting and saturated colors. Paintinglike compositions.
Pitfalls: Clutter from too many props or in the background. Keep it simple. Not mixing it up enough, ending up with too many too similar shots. Experiment and play around instead of trying to play it safe.
Gear: Diffused lighting is your friend here. Bathe your subject in warm sunlight, if you don’t have access to hotlights. A bounce might help eliminate harsh shadows.
Session 3: The Self Portrait
Description: Shooting yourself is not as easy as it sounds. As an exercise, it will help you understand what it takes to direct models a little better, as you start to see the difference between looking through the viewfinder and guessing what it might look like in the shot. Dress yourself up or not, that doesn’t matter. Keep the background simple, so focus will be on you and nothing else.
Good shots: Expressive photos. Make lots of faces and strike just as many funky poses. You might want to change clothes a couple of times, wear a hat, sunglasses and whatever other personal accessories you can think of.
Pitfalls: Getting lots of out-of-focus pictures from moving around. You might want to experiement with setting your focus point, using manual focus and check your camera every few shots until you’ve gotten the hang of it.
Gear: A tripod is almost a must for this one. A remote trigger is another great accessory, though most cameras have a time release function.
Session 4: Everyday Situations
Description: Grab a friend, a family member or your significant other and have that person pose for you. Use your home (or your friend’s) as a backdrop and take picture of him or her doing everyday things, from folding laundry to talking on the phone.
Good shots: Pictures that show both hands doing something as well as the model’s face. Expressions that go with the shot, like excitement in a shot of someone playing a console game or disgust when cleaning a toilet.
Pitfalls: Long shutterspeeds give unwanted blur, watch for present logos and make sure the background goes with whatever the subject is.
Gear: Strobes and speedlights are great for this. You might also use a bounce.
Session 5: The Work Situation
Description: As before, but this time you go to your model’s workplace (or somewhere that looks like a job location) and shoot photos of your model in action. There is a huge market for work-related shots, so it doesn’t matter much if your model is posing as a baker or a lawyer.
Good shots: Whatever shows the various tasks involved with the job, you’re photographing. Include relevant props and shoot both posed and candid pictures.
Pitfalls: Make sure you get permission, before shooting at an actual workplace. Also, watch for logos.
Gear: A speedlight might come in handy here, if you’re in a place that has bad light.
All of these are meant to be exercises as well as sessions, making your work with various types of photography. You don’t need to use the gear I have listed for each session, though doing so might help you get a better overall result. But if you don’t have the things listed, don’t let that stop you from shooting. The important thing is getting the work done with the concept of stock in mind. Think about the lighting, the composition and try to make your shots as good as possible from a stock point of view.
Doing these exercises with a friend might be helpful to you as well. Not only can you act as assistants to each other, holding bounces, positioning props and swapping suggestions, but simply having some creative company will help spark inspiration and make you have more fun. You might even sit down afterwards and help each other sort through your pictures. If you have a hard time choosing the best pictures from each session, perhaps a friend can help you decide.
This post is part 12 in a series about my experiences with stock photography, tips and pointers, meant to offer a little inspiration to those interested in such things. Next up: A closer look at shooting stock photos with no models in it; landscapes, still life and architecture. For a complete and chronological list of articles and a lovely donation-button, check out the Microstock Photographer’s Guide.
