Andrew Hancock isn’t the type of photographer that has a lot of downtime from shooting. As one sports season wraps up, he’s already looking ahead to what’s coming up. And when Hancock is covering a sporting event, he’s typically overseeing the remote cameras aimed at the athletes—he estimates for a basketball or baseball game he’s managing anywhere between six to 12 cameras at a time. For horse racing, it can be as many as 20 cameras.

It’s a massive amount of data that needs to be managed after the fact. Hancock trusts the SanDisk® Professional G-DRIVE® PROJECT desktop solution which has a built-in PRO-BLADE™ SSD Mag slot, and SanDisk® PRO-CINEMA CFexpress™ Type B cards to stand up the challenge when he is out in the field.

“I’m only as fast as my slowest point and speed is everything, especially when you’re doing work for the teams,” Hancock says. “Cards can be the Achilles heel for sports photographers—we’re using high speed frame rates, and trying to get as much of the action as we possibly can. SanDisk PRO-CINEMA CFexpress Type B cards help let me push my camera to its limits.”

The SanDisk PRO-CINEMA CFexpress Type B card is a key part of Hancock’s workflow. The card is designed for professional photographers and videographers who need a high-performance, reliable storage solution. The card is compatible with a wide range of cameras, and it offers read speeds of up to 1700MB/s¹ and burst write speeds of up to 1500MB/s¹. This means that Hancock can capture high-resolution photos and videos without having to worry about his cards slowing him down.

Hancock says that SanDisk’s line of professional products has allowed him to create a daisy-chained ecosystem that works well together. The reliable, fast PRO-CINEMA CFexpress cards are loaded into the cameras, media on the cards is offloaded using the SanDisk Professional PRO-DOCK 4 or PRO-BLADE SSD Mag slots, eventually getting archived on a G-RAID® MIRROR.

“The ability to be able to pump this data as fast as it can go and wherever it can go, means I’m not having to worry about overheating issues or filling the buffer,” Hancock says. “In a clenching situation, where I want to get as much as I possibly can, these cards allow me to actually focus on capturing the moment, without worrying about missing frames.”

For Hancock, having these fast, top of the line cards and drives is as essential as his cameras and lenses when he’s on a job.

“I know I’m not going to be covering a massive event and then something’s going to fail or underperform. At the end of the day that comes back on me,” he says. “It’s like being the quarterback of the team. It doesn’t matter if the receiver dropped the ball, everything comes back to your shoulders. It’s on you. As a photographer you’ve got to make those decisions. And it’s a business decision, quite frankly.”

Professional sports photographers typically spend a good deal of time on the road—Hancock mentions that some years he has up to 200 travel days a year. Having a storage solution that’s been easy to pack up and set up on location has also been a huge part of the appeal for him. Beyond its compact size, the SanDisk PRO-CINEMA CFexpress Type B card also comes with a durable enclosure, withstanding up to 1-meter drops and the pressure of up to 50 newtons², so Hancock can be confident his data will be safe on the go.

“I’m like water, I want the path of least resistance. Having a streamlined workflow takes all the stress out of the situation for me,” he says.

For Hancock having such a streamlined workflow with storing and archiving, enables him to perform at a higher level and be more creative when he’s working. But it’s also helped him get valuable back time. “It’s made my job easier and more efficient, which ultimately means more time with my kids whenever I’m home,” he says. “I love what I do, but any second that I can get back, I want it.”

¹Up to 1700MB/s read speed; up to 1500MB/s write speed. 1400MB/s minimum sustained write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. 1MB=1,000,000 bytes.

²Based on internal testing.

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In 2009, Sarah Christianson had just graduated with an MFA in photography.  She wanted to be a professional artist but didn’t have the backing of a gallery.

Inspired by a friend, Christianson launched an online store. Today, she sells her photography prints, photo books, zines, and Zoom workshops through her website. And while the prospect of selling your work online can be daunting, she says the most crucial step is simply committing to doing it.

“You don’t have to do it big or grand or have all of your inventory online,” she says. “Start small. Putting your signpost out there in the digital space and putting anything up for sale will be a big step in the process.”

Whether you want to do everything yourself or prefer to outsource logistics, there are plenty of ways to sell your photography work online.

Here are Christianson’s best tips on running a successful online photography print business.

Find the right platform

“People need to figure out how hands-on—or not—they want to be,” says Christianson. She prints her work, manages inventory and shipping, and handles all customer service requests. But if that sounds too daunting, she recommends finding a company that will sell, print, and ship automatically for you. A site like Fine Art America takes the guesswork out of selling, so you can focus on creating great work.

Price it right

Find out what similar artists at your same level or timeline in your career charge, advises Christianson.  “Look for someone that has the same trajectory as you,” she says. And then, find more experienced artists so you can map out where you want to end up, price-wise. She recommends joining organizations like the Society for Photographic Education and other professional photographer networks for support and advice, so you’re not alone. For example, a friend and curator took Christianson aside and told her that she needed to raise her prices.

You can start your research by browsing the work (and price sheets) of millions of independent artists at Fine Art America.

Consider limiting your editions

There are two schools of thought regarding figuring out how many prints you should sell of a particular image. If you run a small edition of six or fewer, you can generally charge higher prices, says Christianson. But if you run editions of 20 or more, you can charge less.

“Having a higher price could attract a more serious collector,” she says. “But at a lower price you might sell more. And a lower price might be more attractive for instant gratification, that ‘I gotta have this, give it to me now’ feeling.”

Since Christianson prints, ships and stores her work herself, she keeps her editions small. “You need to decide for yourself where you would like to position yourself,” she says.

Use social media to boost sales

When it comes to marketing, Christianson says social media has the biggest impact on sales. Plus, it feels like a more natural place to self-promote. She posts about new exhibitions she’s in, photo book sales, workshops, or the launch of her new zine. “It’s a fine balance,” she admits. “But I’ve noticed that when I post about a project, people will see it, buy it, and then share it on their accounts. It’s so fun to see people posting about my work—and to see sales track back to social media traffic.”

Get creative with promotions

Christianson is inspired by other photographers to try new ways to sell her work—and expand her reach. Like her peer Jordanna Kalman, you might find running seasonal sales of your work (like a “Summer Special”) can help you find new collectors.

Photographer Carl Corey offers a “One Print for One Month for One Hundred Dollars,” subscription service, a model that Christianson has also piloted. And don’t be afraid to inject your own personality into it:  Eric William Carroll created the cheeky Eric William Carroll Fan Club and uses funny videos and a 1980s aesthetics to drum up sales.

Make it personal

With every online purchase, Christianson takes the time to write a personal note to each customer. She recalls thanking one collector and telling him that his purchase goes toward supporting the continuation of her work.

“I told him that I’m working odd jobs, and because of his purchase, now I can make more work,” she recalls. “That floored him. He had never considered where the money was going before, since he normally bought through galleries and dealers. And that working with an artist like me directly reinvigorated his collecting.”

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You probably have a running list of your all-time favorite photographers. But is their work hanging in your home?

When it comes to wall decor ideas, professional photographer Andrew French keeps his guidance super-simple: Buy what you like.

“Put up on the wall what you like to see every day,” he says. “Choose something that gives you pleasure, makes you happy or feel good or have gratitude, or makes you think.”

The good news is that you don’t have to spend big bucks to build your photography collection. Sites like Fine Art America make it easy to browse—and shop—millions of iconic photographs.

French suggests picking images that reflect or reference the room that they’re hanging in. For example, you might want to place a series of beach or ocean landscapes in the bathroom, while a cheeky chef portrait might brighten up a kitchen. 

You can also sneak in your personal snaps with the masters in a gallery wall. Just make sure that your work shares the same qualities as the famous images, like similar lighting, content, or composition, he adds.

Shop his top 10 picks for photographs that are worth blowing up big—and taking home.

The Divers by George Hoyningen-Huene

“Visually everything about this is a winner,” French says. “From the light to the composition, to the tonality, to the contrast—it’s stunning.”

French is drawn to the simplicity and the implied narrative of the image from Russian-America fashion photographer Hoyningen-Huene. As the figures look into the distance, the viewer is struck by what might happen next.

This photograph could work in any room, French says. He suggests selecting images by theme (beach shots, sports, magazine covers, people looking away from the camera) and arranging them into a quad grid.

Moonrise Hernandez 1941 by Ansel Adams

French loves the story behind this image. Ansel Adams, the most important landscape photographer of the 20th century, only had seconds to expose this photograph. “This is a delicious picture,” French says. “There is light. It is thoughtful. It is provocative. It is contemplative.”

“We were sailing southward along the highway not far from Espanola when I glanced to the left and saw an extraordinary situation—an inevitable photograph!” Adams wrote in Examples: The Making of 40 Photographs.

Adams’s assistant at the time, John Sexton, says that in 1941 Adams was 39 years old and in peak physical condition. “He was well practiced in every motion, and the time that it takes to make a duplicate negative, to replace the slide, reverse the film holder, remove the slide and cock the shutter is less than 3 seconds,” Sexton recalls. “Given that the initial exposure was 1 second and the decision to make a duplicate negative occurred then, Ansel was very, very close to missing that image. It is a testament to his skills that we are able to appreciate it today.”

Commissionaires Dog by Kurt Hutton

This charming photograph instantly transports you to a different era. A doorman in a regal suit bows down to a dog. With the glow of streetlights in the background, the pair create a graphic silhouette.

“It’s funny without being forced,” says French, who notes that the perspective lines bring the viewer’s eyes right to the dog and doorman. “Everything works for me. It feels like an old Life magazine cover.”

Models Sitting on Sand Dunes by Clifford Coffin

Clifford Coffin’s painterly 1949 photograph originally appeared in Vogue magazine. Four models sit cross-legged on a sand dune, their bathing caps forming balloons of color against the sand, and their backs resemble a row of ancient vases.

“It’s a fun composition and plays with light and shadow,” says French. “Who can resist those color dots?” He suggests hanging this photo up in the bathroom or bedroom. “It’s up to you to decide how the content of the picture relates to the location,” he continues.

American Girl in Italy 1951 by Ruth Orkin

Ruth Orkin’s “An American Girl in Italy” has long been a fixture in dorm rooms and homes. It’s an instant conversation starter about feminism and street harassment, but French also calls it “lyrical and iconic.”

Ninalee Craig, who was 23 at the time the photo was taken, told CNN that the photo of her walking with her head held high as men oogle her on the street wasn’t staged. And despite viewer’s assumptions, she wasn’t scared or upset by the attention captured on film. “I was thrilled. I was having the time of my life,” she says.

“It’s multilayered,” French says. “It’s interesting, and it has qualities that stand the test of time.”

The Mainbocher Corset by Horst P. Horst

German American fashion photographer Horst P. Horst’s experiments with radical and Surrealist compositions, as well as avant-garde techniques such as double exposures, produced some of the most iconic fashion images ever.

In 1939, Horst shot Mainbocher Corset the night he fled Europe as the German army moved to invade France. “It was the last photograph I took in Paris before the war,” Horst recalled. “This photograph is peculiar—for me, it is the essence of that moment. While I was taking it, I was thinking of all that I was leaving behind.” The image of the back of a woman wearing an unraveling corset represents the elegance and fragility of beauty in the face of destruction. 

“This image is a little provocative,” says French. “The pools of light are so interesting. The light and dark, the composition, the tonality, the contrast—it’s about the potentiality.”

Horst’s influence on photographers is still strong to this day. Madonna even recreated the corset imagery in her 1990 music video for her song “Vogue.”

Stocking Island Bahamas by Slim Aarons

“It’s a classic,” says French. “The beauty in the location, the light, and the styling—how could you not love it?”

For nearly 50 years, Aarons captured the cultural landscape of the 1% in America for publications like Town and Country. “Attractive people doing attractive things in attractive places,” was how he once described his practice.

French points out that even though Aaron’s photos look candid, they are in fact highly styled and arranged. Aarons, a former military photographer, shot Kodachrome, which creates a rich color palette that’s hard to recreate with a digital camera.

Pleasures and Terrors of Levitation by Aaron Siskind

Between 1953 and 1956, Siskind photographed divers at Chicago’s Oak Street Beach. “I was walking along the lake in Chicago, and I saw these guys jumping off a diving board,” he said in a 1978 interview. “It was a beautiful Sunday, and I was just walking along with my Rolleiflex. I sat down and started taking pictures of them without knowing exactly what I was doing, only that I was taking pictures of divers. The results didn’t particularly interest me until I looked at one that struck me. This guy was a diver, but he wasn’t a diver. He was levitating as if in a dream state, and then I knew what I was after.”

Silhouetted against the sky, the figures look like they’re in mid-flight. “The metaphor of the image is amazing,” says French. He points out that many contemporary photogs like Herb Ritz also created a series of people jumping.

Dancer Martha Graham by Barbara Morgan

Between 1935 and 1940, photographer Barbara Morgan photographed modern dance trailblazer Martha Graham. The resulting images show off the duo’s attention to gesture, light, composition, line and narrative.

French has this photo of modern dance trailblazer Martha Graham on display at home. “It’s lyrical,” he says. “It’s so graphic and captures the moment in time.”

Martha’s Vineyard (Fish in Hand) by Aaron Siskind

This photograph is hanging on French’s wall at home. The scale of the photo fascinates him. “Nature is so small and beautiful in the palm of this hand,” he says. “It’s humbling. It feels like gratitude and reverence at the same time.”

As a lensman, French is drawn to hands in photographs. Even though everyone has a pair, hands are imbued with meaning and metaphor about creation. The isolation on a black background makes the image even more arresting. “For me, hands could even be magical. This image hints at something bigger. It feels like a story.” 

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For more than 35 years, Adorama has set the standard for value. Professional photographers and photo and electronics enthusiasts alike rely on our broad selection of products that includes photo and video cameras, smartphones, home theater, audio and more.

Adorama’s expert services can help you with any imaging needs, whether you want to check out a camera for a weekend getaway, sell an old lens, print a wedding album or dive deeper into your photography passion:

• From testing out the newest DSLR to completing a full broadcast production, Adorama Rental Company has trained experts to help you get the tools you need.
• Adorama’s Trade & Upgrade department pays cash for your used gear or can help you upgrade to the newest technology.
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Visit Adorama, in person in its Manhattan, NY store or online at Adorama.com, and see why Adorama is listed as one of the top five electronics retailers by Consumer Reports, “Best of the Web” by Forbes.com and in Internet Retailers Top 100.

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We’re proud to announce the addition of the 24mm F1.4 DG HSM Art Lens

The Sigma 24mm 1.4 DG HSM Art lens is a state of the art wide-angle prime lens designed for Full Frame cameras but can work with APS-C sensors as well. It is designed as the new standard for this category of lenses with the latest optical design allowing for the utmost in image quality with careful attention paid to the edge to edge performance. Available in spring, 2015

35mm F1.4 DG HSM|A – Sigma flagship lens

Our flagship lens and the first in the Sigma Art line of lenses, the 35mm F1.4 DG HSM delivers groundbreaking resolution and image quality allowing for true artistic expression. A product leveraging the most advanced optical technologies it offers photographers a wide F1.4 aperture to deliver the highest level of brightness and beautiful bokeh.

**© **2015 Ryan Brown

50mm F1.4 DG HSM|A – An Icon of Sigma quality

As the first manufacturer to introduce a 50mm F1.4, Sigma has redesigned and reengineered this lens to deliver a new standard of large-aperture by taking optical performance and image quality to the limit. This lens achieves outstanding resolution and delivers exquisite images with beautiful bokeh making it ideal for the high-megapixel era.

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From the pioneer of large aperture 30mm F1.4 lenses for APS-C format cameras comes the newest version, redesigned and reengineered and offering an angle of view and sense of perspective extremely close to that of human vision. An ideal go-to-lens for artistic photography it promises to deliver the highest level of image quality.

50mm F1.4 EX DG HSM

The original super-fast, incredibly sharp and extremely compact 50mm F1.4 lens. The economical option, this classic is here to stay.

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One of Sigma’s most successful and popular fast primes, this large aperture medium telephoto lens ensures a natural perspective and delivers sharpness, high resolution and beautiful bokeh.

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Tanner Yeager

What Inspires You?
“I’ve been shooting professionally for around 2 years and I’m still evolving my style, but my main passion is action sports, and capturing all the heart, dedication and emotion that go into it. I can feel it and see it whenever competitors get on a rodeo horse or BMX bike, and my goal is to express authentic emotions like determination, the exultation of winning, and the agony of defeat in compelling images. I want to tell the story of their struggle to succeed and convey the visceral reality of their experience.”

What Enables You?
“The Canon EOS 6D DSLR is the perfect camera for what I do because it can capture incredibly brilliant and detailed images at high ISOs in low light. Even at ISO 6400 its performance is outstanding with very good sharpness and color saturation and surprisingly low noise. I’m also impressed by its ergonomic control layout and how easy and intuitive it is to operate. AI Servo works extremely well for action shooting, and the camera is relatively light, compact and beautifully balanced, a big plus when you’re walking around a track all day. The full frame EOS 6D camera is also an exceptional value, an important consideration for pros who are just starting out.”

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THE STORY: I had visited this same alligator on several occasions over a 6 month stretch and I found that I could get REALLY close to it. The closest that I have gotten the camera was a foot away but my head was not behind the viewfinder when I did this because I’m not quite that crazy! I layed down on a dock that was starting to fall apart so that it was even with the waterline when I was at the edge. I positioned the camera just above the water so that I got a waterbird’s perspective, pressed the shutter halfway and listened for the beep while pointing the lens towards the alligator’s eye, reframed using my best judgement (in regards to aiming the camera) and finished pressing the shutter. Lacking a right angle viewfinder adapter, I had to do this over and over again to make up for bad aim while not looking through the view finder. There was one funny moment when I made a sudden movement to get a picture of the gator in the perfect position that I had been waiting for. My sudden movement startled the alligator. This beast demonstrated it’s speed and power by suddenly whipping his tail so that it went into reverse away from me and down below the surface. The alligator’s quick and powerful movement in contrast to how still everything had been scared the hell out of me and caused me to jump backwards as well and scream like a little girl. I laughed afterward at how silly that scene would have looked to anybody who might have seen it, but I was all alone out there with my timid friend.

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NYIP Mentor Tim Pannell has been a successful commercial photographer for more than 20 years, specializing in studio and on-location shooting for the ad industry. He focuses on lifestyle, sports, and business imagery for household name clients like Reebok, McDonald’s, Coca-Cola, AT&T, and Wells Fargo. Acclaimed for his creative vision, positive energy and the uncanny ability to get people to “be themselves” in front of his camera, he creates iconic images that capture true emotions and convey clear powerful messages

Pannell first became fascinated with photography as a teenager in Willow Grove, PA and he worked in a local camera store, but his goal was becoming an architect. His plans changed abruptly with the untimely death of his sister. Determined to “enjoy the ride rather than just focusing on the destination” he quit school and opened a studio in 1985. After moving to Arizona he assisted an accomplished photographer whose work was on his wavelength and finally went out on his own in 1990.

“Primarily I shoot relationships, and I tend to see the world through rose colored glasses,” says Pannell. “I like to create images of people who are happy, and enjoying life in the company of other people. My images are based on participation and connections, and people hire me for the upbeat way I see things. Of course technical mastery of lighting and composition are also essential. I love light and I’m always trying to mimic natural light even in the studio. For me being an NYIP Mentor is a way of giving back, sharing information with emerging photographers.”

“Nobody Does It Alone is definitely the most important Habit that’s enabled me to be successful both as a pro photographer and as a person,” Pannell observes. “And for me that means surrounding myself

with quality people from reps to assistants, producers, stylists and make-up artists. I run my business in a way that attracts the right people and fosters relationships. They’re my second family, and I hire people not only for their technical competence but their ability to get along with others. When we’re on the set, it’s essential to have a loose fun-loving atmosphere, one that’s based on mutual respect and admiration and creating a genuine team spirit. Empowering those you work with so we can grow and learn together is a powerful message that’s at the heart of the NYIP program.”

You can meet more mentors here

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A professional photographer since 1977, Arizona-based NYIP Mentor Patrick Donahue has photographed in over 20 countries, earning international acclaim creating incisive images for world-class corporate clients including G.E, Microsoft, Nissan, and Motorola. He’s been an

instructor/mentor at the famed Santa Fe Photographic Workshops since 1998, serves on the faculty of the Art Center College of Design in Pasadena, and is an active member of ASMP and Society for Photographic Education (SPE).

Although fascinated by photography since his teens, Donahue was pursuing a career in public health when an unexpected opportunity changed his life. “We needed to create an illustrated brochure and the ad agency we were working with asked me to shoot the pictures,” he recalls. “They liked my work so much they offered me a job and I jumped into the deep end of the pool and kept swimming.”

“I consider all my photographs to be personal,” says Donahue, “and my goal is creating images that are distinctive, typically with a strong graphic sense, and using simple design elements to create emotional impact. To do that you’ve go to be aware of basic patterns and see their graphic possibilities. For example, I shot an image of an unspectacular road in bad light but I transformed it in Photoshop in 45 sec to create something that looks moody, enigmatic, and foreboding. It was my awareness of the S-shaped line and its potential that let me create a compelling image.”

“My goal is to make pictures I love, and if they pass that test, I consider them successful. However, it’s also important that they make the viewer feel differently after they see them, to motivate them to look deeper, to jog their consciousness. That’s why I’ve found the most useful and productive of the 21 Habits of Successful Photographers is Habit #1 Awareness, or more precisely, constantly sharpening your visual awareness. When we’re very young everything is new and fresh and we have a sense of wonder in everything we see, but as we grow older most of us are sleepwalking. Learning to open your ‘baby eyes’ is key, and that, more than anything else is the tool that’s helped me succeed. My basic message for those I’ll be mentoring at NYIP is simple: Keep your eyes open and you’ll see the possibilities that present themselves. This is what will allow you to explore your world and create visual magic.”

You can meet more mentors here

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A passionate photographer and outdoorsman, Chris Corradino has literally sailed the world in search of unique and compelling images, from the fragile beauty of fleeting moments to the destructive capabilities of man and nature. “My camera is a vessel for self-expression,” he notes with conviction. “Capturing elusive moments that would otherwise be lost is what inspires me to press the shutter release, to study life one frame at a time.” Consistently hewing to these high standards has earned Corradino worldwide acclaim. His stunning images are posted on National Geographic Online, appear on TV programs including Inside Edition, grace the pages of premier publications such as USA Today, The New Yorker, and the Wall Street Journal, and are syndicated by the Associated Press.

Chris Cooradino started shooting pictures when he was 8, encouraged by his mom, an accomplished landscape painter. Around 1998 he got serious and joined several camera clubs. In 2000 he took an NYIP course, which he says “opened my eyes, honed my skills, and broadened my perspective.” He later became a part-time pro shooting for Newsday, Long Island’s leading newspaper. In 2003 that evolved into a fulltime job, vastly expanding his opportunities, resulting in a variety of fascinating international assignments.
“Perhaps my greatest joy comes from giving back, teaching others how to control their cameras and fulfill their creative vision,” says Corradino. “That’s why I’ve been an NYIP Mentor for the last 6 years, providing personalized instruction to people at all levels, and honored as a Study Leader by Smithsonian Journeys.”

“Being An Early Adopter is the one Habit that has marked my career and enabled me to consistently achieve my goals as a photographer and as a NYIP Mentor. I was one of the first photographers to have a blog, which enhanced my search engine optimization, resulting in more business and networking opportunities. I also adopted mirrorless technology and now shoot with a lightweight Compact System Camera that provides performance on a par with high-end DSLRs. Being an Early Adopter lets you create something that’s never been done before or do things more efficiently. As a Mentor I explain that being an Early Adopter entails risks, but the rewards can really expand your horizons exponentially. Being an Early Adapter is really en extension of being a creative artist because both are based on doing things likely to exceed your initial expectations.”

You can meet more mentors here

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