Thanks to a great turnout and some constructive debate from our participants, I’ve picked my favorite responses from our #photochat on picking your priorities. Check ‘em out below:

What’s more difficult: selecting your best work or maintaining your creativity?

The general consensus seemed to be that it’s more difficult to maintain your creativity than select your best work. BelieveInFilm Gordon offered some advice to stay creative when it comes to our photography. It’s all about keeping a positive outlook and avoiding apathetic ruminations. Never stop dreaming, because once you do you’ll fall into the stale limbo that inhibits all hopes of creativity.

Les Joueurs Photo compares creative upkeep to holding a muscle, and I personally love the analogy. It’s necessary to exert effort (oftentimes both mentally and physically) and thoroughly invest yourself into photographic endeavors to stay imaginative and hold your work to the highest standard.

But Ben begs to differ; he thinks the creativity is always present, and it’s more an issue of staying excited. You can have great ideas, but you’ll need to be riding the high of your artistic genius if you intend to make progress.

What’s a better investment: top-of-the-line gear or a photography degree?

Stephanie answered from a logical perspective. You should invest your time and money into whatever benefits you the most. So if you lack technical skill, a degree is likely the most worthwhile. But if you’re seasoned and devoid of the right gear then it’s smarter to spend on new glass.

Gordon urged us to keep our finances in mind, regardless of our individual decisions. If you’re going to drop thousands on a photography program or professional-grade equipment, budget yourself accordingly and make sure you’re living within your means. Accruing a mountain of debt can only hurt you down the road.

Meanwhile, Alex deviated from a black and white answer to argue that we should disregard such temptations. He thinks that the best investment a photographer can make is consistent practice and mastery of the gear he or she already owns.

What’s more exciting: a brand new lens or a crazy vintage camera find?

Now here’s an ultra-subjective question, but I wanted to hear some unique rationale on the matter.

Grace and Benjamin prefer the thrill of a vintage camera find. Grace’s excitement stems from the history behind an old piece of equipment, so whether or not the camera even functions could be beside the point. Benjamin explains that it’s an old camera’s inherent limitations that attract him. There’s something special about the delayed gratification of a film camera’s photographs that contrasts our modern expectations of seeing the results only seconds after an exposure.

But Les Joueurs’ priorities lie on the opposite end of the technological spectrum. He finds a Christmas-like joy in buying a brand new lens for himself. I can personally relate to this feeling, and for those of us who lust over all the bells and whistles of new tech, this is as good as it gets.

What’s more detrimental: an outraged client or a destroyed camera?

Gordon got right down to the point: your broken camera doesn’t have a mouth and a vendetta, but the angry client sure does. In many situations it can be far more detrimental to deal with an unhappy or stubborn customer than a destroyed piece of equipment, and Gordon tells us to avoid burning the bridges we’ve worked so hard to cultivate.

Benjamin reinforced Gordon’s answer, stating the fact that insurance exists to cover your ass when the worst things happen to your prized gear. Camera insurance is a minor, short-term cost that trumps the nightmare of touchy client negotiations.

But Samantha chimed in with another consideration. This scenario can really depend on the hypothetical camera at hand – if your early 20^th century Leica rangefinder bites the dust in a horrific accident, it’s not necessarily covered by insurance. This can mean many thousands of dollars in lost assets that are virtually irreplaceable, so this could potentially be much worse than a fussy customer.

What’s more versatile: a professional lighting kit or state-of-the-art editing software?

Our last question was dominated by several conflicting viewpoints. Stephanie argued in favor of editing software for its seemingly infinite abilities, but Les Joueurs followed up with support for professional lighting solutions and their sheer versatility.

Ben also provided his input, acknowledging the importance of both resources but ultimately vying for the software. In this day in age, programs such as Photoshop and Lightroom have become so advanced that even the worst-exposed images can be salvaged by a sure hand in postproduction.

If you missed out on #photochat and would like to see more, the full transcript is now available via Storify. Join us this Thursday at 1:00pm ET for the next chat!

Here are the top tweets from #photochat:

What exactly does a photograph represent? Does it present a truthful view of the subject?

Les Joueurs Photo described a photograph as “captured light frozen in time”. This is a blunt but completely accurate definition, and thinking of it this way gives us better insight to what sort of truth a photo presents. He continued by claiming that a photo presents a fraction of truth about its subject. Just as it’s a moment captured in time, it can only really capture a brief glimpse of the “truth”.

Josee jumped in to remind us that photographs are subjective by nature. The photographer is the one who’s creating a truth when he or she makes the exposure, the subject(s) possess their own truths, and then every person who views the image makes an interpretation about the truth.

But can we really associate the truth with a photograph? Perhaps photos only tell lies, as BelieveInFilm Gordon suggests. But lies as they may be, they are wonderful, beautiful lies. Lies that we love to look at and ponder on, and lies from which we can endlessly draw our own comfortable conclusions from.

How do you judge a photograph for quality? What qualities make a particular photo remarkable?

Nannette thinks that a photograph’s quality can be judged by its technical prowess and the level of emotion it evokes from the viewer. I give her props here, because I personally believe this balance is as close as we can come to rating a photograph’s quality. It is entirely subjective, of course, but it’s really our instant emotional reaction that makes us love or hate an image.

But there are other factors we must take into consideration when judging an image for its quality. TheVanishingCultures says that it’s important to understand the photographer and connect with his or her intentions. Analyzing the context of the image’s creation may be a vital part of understanding it.

But this may only apply to certain aspects of its creation; if the photographer overcame great adversities in order to capture the photo, does it make the end product any better than the next photo? This can be a tricky question to answer.

Frank had a great point of view here as well. “If a photo invites me to look into it rather than at it, I then know it’s a quality shot”. Meaningful photographs are the ones that suck you in and beg for analysis. They’re the shots that enthrall viewers and yield deeper curiosity and wonder as they continue to look.

What purpose does a photograph serve? To document a physical event? To capture an emotion? Something more?

Samantha argues that since photography and its interpretations are so intrinsically subjective, a photograph can fulfill any purpose. The beauty of it is that the photographer can craft his or her image in an effort to convey an idea or emotion, but the final judgment is up to the viewer.

Photography is the cornerstone of visual communication, and Dan Bailey thinks this is the fundamental purpose of any photograph. Whether it’s a moment in time, a fleeting emotion or more complicated features of the subject, at its core the photograph is a tool to communicate these themes.

But Benjamin thinks differently. Does the image’s intended purpose even matter? Perhaps all that really counts is the photo’s impact. He argues that we shouldn’t focus so much on the purpose, but instead let the shot speak for itself if it’s a remarkable piece of work.

What makes photography art? Or has the medium become oversaturated and arguably moved away from the arts?

Nannette brought up a fantastic thought in her answer, and I especially love how she worded it. She exclaimed how art lies in the creative rendering of the image, and it’s the photographer’s vision that determines whether or not something becomes art. It’s worth mentioning that the concept of “creative rendering” is something achieved in-camera, in the darkroom, on the computer or beyond (not necessarily limited to one piece of the artistic process).

But regardless of a photographer’s artistic vision, a work needs to be unique if it’s going to stand out. Frank thinks a photo “soars into the realm of art” once it breaks the rampant clichés present in today’s digitized visual atmosphere, and it’s a rare thing to come by truly unique work in this oversaturated photographic society.

LisaMarie dismissed this train of thought altogether by stating that art isn’t defined by medium, and I think she has a good point that steps outside the boundaries of this question. It doesn’t matter that photography is arguably the most popular visual medium in the modern world; what does matter is the individual piece’s aesthetic and resulting effect on viewers.

What makes photography a meaningful, valuable pursuit?

For Benjamin, photography allows him to communicate ideas that he can’t otherwise express. I know exactly what he’s talking about – crafting an image is a way to convey thoughts and feelings that rhetoric just can’t match.

Ben Fullerton expanded upon this sentiment by proclaiming that art is where our humanity lies. Photography is a very raw way for an individual to communicate their feelings to others, and it’s this wonderful ability that fills the pursuit with meaning.

Gordon’s answer was simple but utter truth. There are few things he can claim unwavering love and devotion for, but photography is one of them. It’s this sort of inexplicable passion that makes photography so worthwhile to us, and I think just about any photographer would claim the same thing.

Thanks to everyone who participated again this week! To see next week’s questions, check on our #photochat page every Wednesday, or get ahold of us on Twitter @Prime_Social if you have any questions.

In this second part of our series on spearheading social media for photographers, I’ll be showing you how to set up and maintain a Twitter presence for your photography business.

Setting your page up

There is significantly less setup involved when creating a Twitter page in comparison to Facebook. This is mainly because of how the service operates in contrast to networks such as Facebook and Google+. Instead of compiling and archiving huge amounts of visual content for constant recall, Twitter’s interactions are largely text-based and occur rapidly in real time.

All in all, there’s much less visual and textual content present on a user’s profile page. This is because the attention is focused on the tweets themselves with much less emphasis on personal user details.

But that’s not to say that your profile is insignificant. It’s the stuff that people see first when they click on your Twitter handle, and it’s the same stuff that’s going to establish your credibility and draw their appeal.

(Remember that each part of your profile can be added or altered by accessing the Settings menu from the gear dropdown, as seen above.)

The first parts of your profile to consider are your Real Name and Username (in the Profile and Account section, respectively). Your Real Name is the one that displays right underneath your profile photo. This name should be consistent with how you brand yourself elsewhere, so matching this up with the name of your photography business is in your best interest.

Your Username is the one that follows an @ and serves a much different purpose. Also known as your Twitter handle, it appears next to your Name and Photo when you tweet, send direct messages, become retweeted and show up in lists. It’s what other users enter to mention you in tweets, so it’s also what they’ll associate your presence with. Your Username can be as long as 15 characters (in comparison with the 20-character Real Name limit), but keeping it short and sweet is better in the interests of tweet length and ease of identification.

Your Bio is the 160-character space to tell people about yourself (located in the Profile section). This is your chance to tell visitors what type of photography you shoot (e.g., portraiture, weddings, sports, commercial), what kinds of industries you service, and a little about yourself.

Just below your Bio are the Location and Website sections (also located in the Profile section). These are pretty self-explanatory, but be sure to include your city and state and a useful link to your official website here. I’d suggest linking to a page with lots of images on it (such as a portfolio, slideshow or video) to give the visitor a clear idea of your capabilities in the click of a button. It’s also smart to ensure that this page has additional contact information on it so you’re making it easy for serious inquiries to get ahold of you directly.

Next up are the visual elements of your profile. Your Photo (at the top of the Profile section) should either show users the face of the business (that’s you, of course) or display your official logo. Keep in mind that the Photo shows up as a small square thumbnail, so plan for this if the dimensions of your image are long on one side. In any case, this is going to be the smallest graphic on your page.

But it’s also going to be the most identifiable element of your Twitter presence, since it shows up next to your name and handle every time you appear in a feed. Your Photo is how people will remember you, so stay away from frequent changes to avoid confusing your followers.

Think of the Header Image as a background for your Profile Photo (seen in the Profile section). This is the customizable graphic that rests behind your Photo, Bio, Location and Website, and is what I consider to be the most useful part of the profile page. Unlike Facebook’s Cover Photo, Twitter’s Header Image can be used to promote your website, tout awards you’ve earned and advertise special deals and discounts on your products or services.

You can also use the Header Image creatively alongside your Profile Photo. Whether you’re setting your face atop of a superhero’s body or within the context of an impressive landscape, there are a number of great ways to combine your Header Image and profile photo to impress or amuse visitors. If you need help with ideas, Mashable has a great little compilation of Twitter headers done right. Above are a few of my favorites from my own followers and fellow photographers.

Your Photos and Videos section is where you should start out showcasing your best portfolio pieces. You can add photos to your page by simply attaching them to tweets and sharing them with followers (as you would a normal tweet). There are six spaces for image thumbnails that appear just next to your Header Image, and whenever you tweet or retweet a photo or video it will show up here. So before you’ve had a chance to do much tweeting, make some initial shares of your own work to fill the gaps there and give followers a peek at your abilities.

Another piece you may want to consider altering in your profile is the Background (found in the Design section of the settings). You could use a pre-made theme that Twitter provides, but I’d recommend using your own if the page is for your business.

You can use the Background much in the same ways that you can use the Header Image, but of course with more space available. Create your own design to incorporate your logo, contact information and other social media pages. Using hyperlinks in the Background is not a possibility, but if nothing else visitors will be able to type out a short URL to find your business elsewhere.

Once you’re all set up and satisfied with the look of your page, it’s time to start thinking about outreach and upkeep.

Maintaining a social strategy

As I mentioned earlier, Twitter is a network of constant, fast-paced written engagement. Your goal, first and foremost, should be to have meaningful interactions with other users. The best way to understand how to best conduct yourself on Twitter is to learn what undesirable tweeting behavior looks like.

The big tweeting don’ts for brands:

Spamming sales-y content. General over-tweeting. Sharing boring or irrelevant content. Soliciting follows on third party social media.

Now that you’ve seen some examples of exactly not what to do, let’s focus on strategy.

Brands should be tweeting around four times a day on average. This doesn’t include conversational tweets back and forth if you’ve successfully engaged with a follower; I’m only talking about outreach tweets that are made out of the blue.

I think of outreach tweets as ones that contain general appeal and serve the purpose of attracting attention to your Twitter page. Outreach tweets should be interesting, relevant and contain language or content that enthralls the average person. They shouldn’t necessarily focus on your own products or services, but instead show something entertaining or interesting about what your business is doing.

Another big part of tweeting to a broad audience is smart hashtag use. Using hashtags is an important strategy for categorizing and tagging your tweets. But the way I like to think of it is that while hashtags do “file” your tweets to make them appear in a keyword search, they should be used the same way that you’d bold text to make it stand out. And since we’re incapable of bolding features in the Twitter interface, hashtags serve as a substitute and help highlight your tweets in a sea of bland Lucida Grande.

And while hashtags make you stand out, so does a poor choice of tone. Make sure you stay away from sales-y rhetoric when you’re focusing on outreach. Focus on the aspects of your photography business that set it apart from others instead of peddling your products or services. Analyze what’s so special about it – the people, the technique, the gear, the outcome, etc. Then take full advantage of what’s so great about your business and show it off to your Twitter followers. Here’s where I’m going to reiterate a bit from my post on spearheading your Facebook presence…

It’s a good idea to include visual bits in your tweets. Twitter is dominated by a multitude of textual content, so when users see an image sticking out of the crowd they’re bound to check it out.

Said visual bits can be just about anything. Think about showcasing some lesser-known aspects of your business through your Facebook updates. How about an Instagram capture of construction on your new studio space? A shot out the window of your plane as it lands in a foreign city? Your cozy desk setup and caffeinated supplements as you burn the midnight oil editing the last of a wedding shoot? Going behind-the-scenes will build credibility with your fans and give them a closer look at how your business operates.

Another fantastic way to network and spark conversation with users is to join (or host) Twitter chats. Chats transpire at designated times, either as a special feature or a recurring weekly event, and work through the use of a particular hashtag by each participant. Generally Twitter chats are staged in a question-and-answer format and run by a moderator who invites participants, asks the questions and stimulates the conversation.

There are a ton of different types of chats for varying industries, but for photographers there are a few already established. The most active of them is #photochat, held Thursdays at 1:00pm ET (each week’s questions and more information is available here). #photochat gets hundreds of Tweets every week, ranging from amateur and enthusiast participants to seasoned professional photographers. Additionally, #photographychat takes place every Wednesday at 3:00pm ET, and #travelpics is each Monday at 3:00pm ET.

Besides direct conversation with other users, Twitter’s purpose is to draw traffic elsewhere (your blog, website, other social media). So whenever you’re conversing as a brand, keep this goal in mind.

Whenever an opportunity arises in a discussion, share relevant resources and links with your followers to prove your worth and get eyes on your content. Again, avoid sharing direct links in a blatant effort to get people buying – that’s not why they’re on Twitter. Whatever you share should be helpful or entertaining in some way, so this works exceptionally well alongside your blog (if you have one).

I’m also going to recommend a few utilities and functions worth using for your photography page on Twitter. TweetDeck is a free application that no serious Twitter user should go without, especially if you’re trying to manage several accounts at once.

In TweetDeck, multiple columns contain different types of feeds that organize your communication for better ease of use. You can make columns for timelines, mentions, to track sharing activity and retweets on particular links and hashtags, and much more. This makes it ideal to view chats in real time and follow the popularity of a recently shared piece of content.

Don’t forget that you’re also able to connect Twitter to an existing Facebook page. This means that whenever you post a tweet, it shows up on your Facebook page for your fans there to see.

This basically doubles the effectiveness of your content shared on Twitter, so as long as you’re not already posting the same things on both social media sites, this is a no-brainer. In order to access this function, go to the Profile section of the Settings menu and click the “Connect to Facebook” button to follow through.

So there you have it, photographers. What I’ve provided here will give you the upper hand when getting started on Twitter, even if you’ve never used it before.

If there are any other useful utilities or techniques that can help a photography business set up and manage their Twitter account, please let us know in the comments!

Below are the top tweets from last week’s chat:

Which great photographers have inspired you the most? Share your biggest admirations with us.

Josee, Steve and Dan all had some great suggestions of photographers to check out for inspiration. I’ve included links to their favorites below along with several others that were mentioned during this question.

Ansel Adams

Richard Avedon

Gordon Parks

Irving Penn

Mary Ellen Mark

David duChemin

These photographers vary greatly in genre, style and era. Some were prominent in days past and others still practice today, but they’re all incredibly gifted individuals who have created works that stir our creative conscious.

What do you do to pick yourself up when you’re feeling exceptionally dissatisfied or unproductive?

When Gordon gets stuck, he returns to a place he’s been a hundred times before and forces a new perception of the locale. As photographers, our job is to see things differently, so forcing ourselves to do so when we’re feeling stale is a logical way to break out of a funk. Gordon also mentioned the fact that he rewards himself after the fact, which I personally think is an important part of the rejuvenation as well.

Nannette suggests that we occasionally forsake our cameras to experience the environment with nothing but our senses. Setting technology aside (analog, digital or otherwise) can do a world of wonders when you need a fresh perspective, because sometimes it becomes a distraction or crutch without us realizing it. I consider this a practice in observational discipline, and it’s an idea that every photographer should try when they lose sight of their goals.

Nannette also mentioned photography books as a source of inspiration when you have down time and lack imagination. If you don’t own any yourself, take a walk to the local library to check out their collection of classics. Photo books are a great departure from how we’re accustomed to viewing on the internet, as the experience is tangible and more personal when you’re holding a real book in your hands (in my honest opinion).

But if you’re truly broken and all else fails, remember the universally applicable proverb of old: this too shall pass. That’s what Herschel reminds himself of when he’s in a stitch or facing serious photographic anxiety.

What recent stories or photographs have you read/seen that inspired you as a photographer? Discuss and share!

Pia recently found an article on PetaPixel that inspired her. Looking at the similarities and differences between various subcultures, Mark Laita’s portrait series Created Equal is a fascinating dissection of the aesthetic subtleties commonly missed when we’re judging a stranger’s appearance.

Josee brought up a documentary-style piece that follows a wet plate collodion photographer on a no holds barred cross-country trip to perfect his process.

I gave this a watch when it first came out and instantly loved it. Seeing such a driven artist create a completely unique camera from scratch and overcome numerous challenges in the name of his photographs is the epitome of inspiration to me.

Les Joueurs contributed a more light-hearted look at some artistic brilliance. A clever father’s sandwich bag art recently went viral and gave viewers something to smile about. It’s one of those instances of mundane, daily creativity that gives us a burst of inspiration.

Do you have a particular muse that aids and inspires your creations? A person, place, etc. that helps when you’re struggling?

Frank claims that it’s his subjects that provide the inspiration behind his photographs. I know what he’s talking about – when you’ve found an interesting individual, it’s easy to become enthralled with their behavior, open up and get to know them. And when you see the resulting image, it’s worth all your time and effort.

Benjamin (a teacher by day) explains that his students can be a muse and give him a different perspective on photographic concepts, sometimes without meaning to. The way they convey their thoughts is often unfiltered and remarkably genuine, and this alone can generate a progressive dialogue about the world of photography.

Any favorite quotes or words of wisdom from the greats that have personally helped inspire you?

We finished the chat off by sharing some words of wisdom from photography greats. Frank quoted Henri Cartier-Bresson (often considered the father of modern photojournalism) with “Your first 10,000 photographs are your worst”. This sentiment has resounded with me from the time I first heard it, and it makes a great deal of sense. Playing off the proverbial “practice makes perfect”, Cartier-Bresson was clearly stating that the path to becoming a skilled, worthy and consistent photographer is a long and arduous one.

Nicholas chimed in with a quote from world-renowned portrait photographer Yousuf Karsh; “Look and think before opening the shutter. The heart and mind are the true lens of the camera”. This is something that’s easy to forget when you’re shooting fervently, especially when it’s on the job. But remembering to embrace your intuition will often aid you in your efforts.

Benjamin also dropped an excellent quote as we wrapped up. 20^th century botanical and portrait photographer Imogen Cunningham once said, “My best picture is the one I will take tomorrow”. I often catch myself thinking this way after reviewing my past work, and I believe it holds true to every photographer.

Here’s a little pick-me-up for those photographers who need some inspiration: 25 sites packed with musings, imagery, news and gear that will inspire your creativity.

The Strobist – Technical lighting tutorials, creative gear modifications and general know-how.

The Phoblographer – Professional interviews, current events and gear reviews galore.

Petapixel – Trending news, remarkable photo series and photographic wonders.

CreativeLive – Free live streaming tutorials, instructional video archives and expert advice.

Colossal’s Photography Blog – Remarkable series showcases and impressive nature oddities.

Fstoppers – Tech talk, reviews, photo manipulation and a little humor.

The Photo Forum – Conversation, networking opportunities, contests and help-seeking.

Faith is Torment – Strange and beautiful landscapes, cityscapes, portraiture and photo manipulations.

The D Photo – Photography tips, techniques and equipment with a section dedicated to inspiration.

The Ultralinx – New views on old photo trends, extreme approaches and news.

Design Aglow – Business and marketing advice from professionals, and attractive design ideas abound.

From Up North – A whole section chock full of photography inspiration.

Phlearn – Thorough video tutorials and detailed behind-the-scenes guides with professionals.

Evoking You – Fine art photography features and a variety of subject matter.

Inspiration Grid – An endless feed of ultra-creative and offbeat photography.

Inspire Me Baby – Creative techniques and approaches to newborns, children and family portraiture.

Tumblr’s tagged photography inspiration – A giant, diverse database of photos from one of the biggest blogging networks on the net.

DesignSkilz – A compilation of inspirational photography that traverses the genres.

Pokkisam – An eclectic assemblage of beautiful and inspirational photography.

Noupe – Online tools, advice and news from the photography world.

Web Design Ledger – Bright and beautiful posts dedicated to inspiring photographers.

Photo Donuts – Edgy portraiture, boudoir (some NSFW) and artsy black and white shots.

Photopreneur – Business insight and news to aid the professional photographer in his or her endeavors.

Pinterest – A search on photography inspiration turns up thousands of tagged images.

Flickr – The Inspirational Photos Group has hundreds of members who share their finds and converse.

Those of us who use the largest social media network on the planet will already know how to comment, like, and post status updates. But if you’re establishing a Facebook presence for your photography business, it’s going to take far more than a few posts and Likes to get the ball rolling. You’ll need a solid setup to get started, and then a comprehensive strategy to stay afloat and grow your influence.

Photo from Mike Baird

This guide will serve to outline tips and features of setting up and interacting on a Facebook page as a photography business. I’ll shamelessly be using examples from my own Facebook page to help you follow along, so while it’s not perfect, you’ll be able to see each function firsthand as it appears on a real business page for photography.

Setting your page up

If you’re starting a photography business, then you should already have a portfolio of your work. Your portfolio should contain your very best work, and you’ll want visitors to see this on your Facebook page.

Let me begin by providing some peace of mind for those who are worried about putting their photos on Facebook.

That’s straight from the horse’s mouth: “You own all of the content and information you post on Facebook.” There’s more on Facebook’s terms page, but the biggest thing to remember is that while they have permission to use your photos (host them on their servers and allow fellow Facebookers to view them), you retain ownership of your posted content.

Now that you’ve breathed a sigh of relief, it’s time to get started.

Creating genre-based albums is a great way to go when you’re first uploading portfolio images to your Facebook page. It’s going to direct visitors who are interested in particular types of photography (e.g. newborns, weddings, sporting events, live performances, etc.) to the right place, and it’s also going to keep your images organized in the future.

Every time you publish photos, just add them to the corresponding album so that new visitors can find what they’re looking for.

Another big part of adding images is tagging your subjects’ names. Doing so will generally yield more exposure to your page from the people you tag and their friends.

We’re all familiar with the pleasant surprise that comes with someone tagging a flattering photo of us. Tagging your subjects establishes favorable rapport with them and expands the possible viewership of said photo.

Something else to consider when sharing your photos is whether or not to watermark. Just because you own your images doesn’t mean individual users can’t download, share and use them for their own agenda. Facebook makes it easy to do so, and when somebody decides to snag one of your images there’s no indication of its origin.

That’s where a watermark comes in. There are of course a variety of ways to mark your photo, and some are more subtle than others. I personally choose to include my name and the year of publication in each photo’s border. It’s a small token of my creation that can clue viewers in without disturbing the image itself.

Others choose to incorporate more conspicuous designs that overlay the photo and include logos, websites and contact information. This makes it easier to pick out the photographer’s details but can also become a distraction. But the size and type of watermark you use really comes down to a personal preference.

Once you’ve added the meat and potatoes of your portfolio, you need to think about what visitors are first going to see when they come to your page. This includes everything above the fold, and includes your Page Name, Profile Picture, Cover Photo, About section and Albums. If you’re not already familiar with it, “above the fold” is a term used to describe a page’s contents that are immediately visible (without scrolling down).

Your Page Name obviously tells people who you are, but it speaks to the search engines as well. By this I mean that Google and Bing will see your page’s name and index it (along with the other textual content on your page) to rank in search results. Including the word “photography” somewhere in your title may be a given, but realize that it helps people find your page in search engines (especially when paired with your location).

The About section is where you talk about your business. Here you’ll want to include your location, the services you offer, contact information and perhaps pricing. There are fields for more specific details deeper in the About section, but the “short description” is what appears first on your page, so this is where you should give visitors the most relevant info up front.

The Cover Photo is the loudest feature above the fold, being the largest piece of visual content on your page. This is your chance to exhibit your latest and greatest capture, sucking visitors in with a beautiful photograph and encouraging them to inspect the rest of the page. Keep in mind that the space can’t be occupied by any more than 20% text, so while you can include a logo, it’s not the place to reiterate spots from your About section or tout special deals.

Your Profile Picture plays a similar role, except that it is more flexible than the cover photo and can potentially incorporate large portions of text. It’s also wise to use this space for a portrait of yourself or your team. There’s nothing more effective at establishing credibility with new visitors than showing them the faces of the people behind the business. It shows potential customers that you’re friendly and personable (not to mention good-looking!). Other than this, you can always include a stunning photograph that will have curious users clicking on it, and subsequently browsing through the rest of your images.

The Favorites and Applications area plays an exceptionally versatile function. This is where custom applications can be nested that lend special features to your page. Facebook applications can be created to serve any number of purposes, including contact forms, slideshows, networking applications such as photo contests, or even testimonials.

Photo from Iris Leaf Photography

Custom applications are a visually appealing way to enhance an otherwise average business page, giving visitors a more attractive and interactive experience. They’re an effective way to reach out to new customers and offer appealing opportunities to existing fans.

Now that you’ve finished setting up your page, your job’s not over. It’s time to implement a social strategy that will draw buzz to your page and have impressed Facebook fans returning regularly.

Maintaining a social strategy

The first and most essential part of your strategy should be constant visual communication with visitors through regular updates. Updates are going to be the lifeblood of your Facebook presence, feeding your fans with striking images, entertaining resources and the latest news about your business.

Updates should ideally be made at least once a day to keep a steady flow of activity going on your page. At the same time, it’s important not to overdo it. An onslaught of soulless posting will do more harm than good, so finding the right balance between consistency and overkill is in your best interest.

Keep in mind that the large majority of your updates should include visual elements. Whether it’s a photo, video, promotional banner, collage, infographic or just a screenshot, including something visual in each update you post will have a much higher number of users viewing and clicking through it.

When you finish shooting and editing new work that you’re proud of, show it to your Facebook fans! Add your photos to those genre-based albums, attach them to updates and link to them on other sites if they’re featured elsewhere. And remember that when you’re adding pictures of people to your page, tag them every time.

But you may not be producing new images on a daily basis, so you’ll want to fill the gaps with other sorts of content, and there are several routes to take with this.

Think about showcasing some lesser-known aspects of your business through your Facebook updates. Focus on what makes your photography business special (the people you work with, the techniques and equipment you utilize, your location, etc.) and convey these things to your audience with images. Going behind-the-scenes will build credibility with your fans and give them a closer look at how your business operates.

You can also post updates referring to mundane interests. These include everyday topics of conversation that the average person can relate to, such as the weather or workday productivity. As a professional photographer you have the power of pictures on your side, so it’s easy to take an appealing photo of the beautiful weather and add it to your page to stimulate conversation.

Making your updates entertaining and humorous are both very effective ways to charm users and garner feedback. Don’t be afraid to lighten up and crack a few jokes in your Facebook feed, as long as you’re keeping it tasteful. This may or may not be appropriate for your brand and target audience, so consider the kinds of people you service and whether they’d enjoy those types of posts.

Yet another way to provide fresh and exciting content is through a blog. Creating useful blog posts that provide free resources to visitors will grab their attention and often get them talking.

This also draws Facebook fans to your website (assuming your blog is hosted on your website), where they can learn more about your services and initiate contact if they’re genuinely interested in you.

If you’ve exhausted your options and need some backup, you can provide updates by linking up with other social media networks as well. Instagram, Flickr, 500px and Twitter can all be linked to Facebook so that posts you make on each network will also appear as updates on your Facebook page. This makes it easier to share and provide a stream of content to your fans on Facebook.

If what you’re sharing is interesting, entertaining and relevant, then users are bound to “Like” and leave comments on your updates. Take advantage of this when they do and make it an opportunity to start a conversation. Be sure to thank the people who express their appreciation or interest, and do your best to inspire responses from them.

When you have a worthwhile conversation with a fan, he or she will remember it. This is one of the best (and easiest) ways to develop your brand’s personality and facilitate a meaningful, memorable interaction with the people who notice your business.

Now, I never said that establishing and maintaining a successful Facebook page was going to be easy. But this tutorial will be enough to get you off the ground and building your following – just take it from someone who’s done this before.

If you’re looking for more on starting social media pages for your photography business, keep an eye out for part II in which we’ll be covering all the Twitter fundamentals for photographers.

Here are the top tweets from this Thursday:

When you’re buying a new camera setup, what do you invest more in: the camera body or the lens(es)?

Mark’s answer echoed the general sentiment of our photochat participants: good glass will always be good glass. I personally agree with him, because while the body serves important functions (such as ISO handling and frames per second) it’s the lenses that focus, provide focal length and determine the resulting quality of the image.

Samantha was on the same wavelength as Mark, but brought up a good point about upgrading bodies. Another important feature of the camera body is its crop factor, meaning how much area the camera’s sensor sees in comparison to a 35mm film frame. Many consumer-grade DSLRs have CMOS sensors with 1.4x or 1.6x crop factors, so they can only pick up a portion of the total frame area. Full frame sensors, however, are the next step up and can take full advantage of lenses that are full frame capable (e.g. Canon’s EF and L series lenses).

Gaurav also had something to say about camera body upgrades. Every time you buy into a new camera, you’re going to have to learn the functions and layout all over again. This can be time-consuming and become a potential setback if you’re a professional, so sticking with your trusted setup for as long as possible isn’t such a bad idea after all.

Do you/have you bought third-party gear? (e.g. Sigma lenses for your Canon body) What are the pros & cons of doing so?

I thought Mark’s and Ben’s answers summed up the reasoning behind purchasing third party lenses. Buying based on performance is what gets you the best gear – regardless of brand name. Whenever I decide to throw hundreds or thousands of dollars into new glass, I’ll always do my homework and see how the competitors are reviewed. A big part of this is the maximum aperture (or “lens speed”, indicating how fast of a shutter speed is attainable in low light based on its aperture capabilities). I’ve been in the same situation before, and if there are two comparable lenses and the third party has a better max aperture, I’ll always roll with the faster one.

Nicholas offered some great insight on the general pros and cons of buying third party lenses. This certainly isn’t a blanket statement, but third party alternatives tend to save you money and often give you identical quality. However, he mentioned that they can also weigh more than their first party counterparts, and can also lack on durability or image quality in some cases. These are all things to keep in mind and ask yourself when planning a new lens purchase.

What are a few of the handiest items to have in your camera bag in case of emergency?

Alex gave a shout-out to the film crowd with his answer: film, film and more film. The digital equivalent is of course memory (whether they be SD or CF cards), and he also recommended carrying lens cleaner, water, first aid and a flashlight. The flashlight is especially important because it can be used to paint a long exposure with some fill light in a desperate situation, or simply be a light for the photographer in dark places, when all other lights go out (shameless LOTR plug… I had to).

Monika’s suggestions included rain gear, extra batteries and a notebook. Extra batteries are exceptionally handy when shooting in cold weather, since lithium ion batteries die exponentially faster in low temperatures (keeping an extra warmed up in your pocket can be a life saver in such a scenario). A notebook is something every photography should carry on hand to track exposure settings, locations, times, subject names and bright ideas.

Mark was back with another solid piece of advice that’s easy to forget. Keeping business cards in your camera bags can come in handy when you’re approached by a potential client or finish a conversation with a new contact.

What are some exceptionally great gear deals you’ve come across that you’d recommend to others?

Ben suggested some solid savings for Canon shooters: third party batteries from Wasabi that include a charger and car hookup, all for $30.00. And this seems to be what he’s talking about.

Nicholas jumped in to remind us that many brick-and-mortar photo shops will match the prices of their competitors to get your business, so it’s always worth asking before you make the buy. Although it can depend on the size of the business and may not always work, it’s worth a try if you’re putting tons of cash into new equipment.

Grace had a word of advice for film fanatics as well. You can find great deals all over the place, but antique shops will occasionally yield incredible finds at unheard of prices. They’re an underrated source for beautiful old cameras and equipment, and she claims that the thrill is in the hunt.

Name some of the most ridiculously overpriced photography gear you’ve come across, and recommend affordable alternatives.

Benjamin mentioned the steep pricing schemes that are inherent with most photography gear. He takes the DIY route, and suggested that we do so as well. Ben clued us in to the use of a DIY flash diffuser as a way to save a few bucks, since crafting something similar out of index cards or foam board can be accomplished pretty easily.

DIY was brought up again by Nicholas when he talked about creating lightboxes from scratch. This can be done using a variety of materials (there are a ton of tutorials online), and he recommended replacing the reflectors with foamboard for good results.

Now I never really do this, but this week I wanted to add a great find of my own to spare other owners of the Canon 100mm f/2.8 L Macro the agony of buying into Canon’s Tripod Ring D for their new lens.

When I first purchased the lens a couple years back, it didn’t come with a tripod ring (which is absolutely essential due to the lens’ size and weight). To my dismay the damn thing was nearly 200 bucks, and there was just no way I was going to drop that kind of money for a piece of metal with two moving parts.

And until recently there was no alternative – until a company called Vello came to the rescue. B&H now stocks this wonderful little third party tripod ring for $50.00 (still pricey for a tripod mount, but a fraction of the price of Canon’s abomination).

I hope everyone enjoyed #photochat this week! Join us again next Thursday, and check out the new questions the day before on our #photochat page.

Below are five of the craftiest marketing ploys in the big beer industry today and how their looks, functions and overall appeal affect prospective buyers.

“My Bud Light” labels

Photo from Daily Finance

Looks: For a while Bud Light’s labels sported a special feature. The small white space below their logo resembled a dog-eared notepad and encouraged the drinker to “make your mark” by doodling with a key or coin.

A fancy splash graphic played up the side of the label, complementing the curvy aesthetic of the brand name’s border and making us wonder how the little notepad looked so dry. And when inscriptions were made, the paths left behind a metallic outline reminiscent of scratch-off lottery tickets.

Function: The obvious function behind the label is to scrawl your name onto your beer and avoid confusion with other partygoers. The makers also recommend leaving your phone number on the bottle for that good-looking someone across the bar. One commercial for the special beers even shows two guys leaving behind Buds with a suggestive “party” and their address on the side, of course followed by a successful gathering of every attractive woman in their apartment building.

Overall appeal: The “My Bud Light” labels definitely had something going for them. In a world where people use hair ties and defaced labels to keep track of their beer in the crowd, it’s smart to fashion a feature that lets them write their names on it.

But this gimmick is now a thing of the past, as it must not have drawn the response that Budweiser had hoped for in a limited run several years ago. Or perhaps the “limited time only” was meant to be a part of the appeal in itself.

Coors’ cold-activated can

Photo from buba69

Looks: These Coors cans use color to their advantage. What better hue to associate with your brand’s ice cold beer than blue? It’s a common theme in the beer industry (see Bud Light, Labatt Blue, Pabst Blue Ribbon), the color being synonymous with the super chilled temperatures we Americans love our beer served at.

Function: The purpose is evidently to show the consumer that “this beer is cold”. The cans utilize a simple chemical reaction by printing the mountains with thermochromic ink. When the liquid inside gets below a certain temperature, the exterior dye changes from transparent to blue.

And they’re reminiscent of the temperature-activated, color changing charms of days past: 70s mood rings, and those wondrous plastic spoons from the cereal boxes. It’s a nostalgic touch that brings us back to that naïve amazement of our childhood and subconsciously works in the Coors brand’s favor.

Overall appeal: But, then again…what do we have hands for? Must we forsake our sense of touch and wait for the beer to tell us when its contents are ready to sip?

Coors has even gone as far as punching out a little “window” to exhibit the effect of their cold-activation to passersby. It all seems pretty silly to me, but this novelty seems to turn casual beer drinkers on to the beverage.

Miller Lite’s punch tab

Photos from shane o mac and Dirty Beer Hole

Looks: There’s not much to look at here. The punch tab is merely an opportunity for an extra hole in the top of your average Miller Lite can. They’ve added a little instructional graphic on the side to give you the right idea, in case you missed the plethora of advertising on the box you pulled it from.

Function: This product’s design is mundane but touts the special advantage of a smoother pour. The commercial invites drinkers to punch the top out with the tool of their choice, including but not limited to drumsticks, wrenches, baseball trophies and carabiners.

What could always be done with a can opener or set of keys is now made just a little bit easier by the fine folks at Miller. This must be an attempt at inspiring more tasteful shot-gunning practices for the next generation of reckless college kids… right?

Overall appeal: To be fair, I can see why this little feature works for Miller. Anyone who’s bored a makeshift can hole (for whatever purpose) knows it’s an extra bit of fun with a visceral charm of its own. So if you can give people that added amusement by etching another punch-able spot into your can and potentially boost your sales from the tactic, why not?

Miller Lite’s vortex bottle

Photo from Dawn Huczek

Looks: In case you couldn’t tell, Miller is big on the beer gimmicks. Here’s their vortex bottle – a subtle design integration that can be seen through the neck of the bottle in just the right light. Since it may not be immediately noticeable, they give you a reminder on the bright blue strip that reads “vortex bottle” and “specially designed grooves” close to the pouring end.

As long as the drinker isn’t sitting in a dimly-lit bar, this minor redesign may be noticeable and just enough to pique a curious patron’s interest.

Function: Miller claims that their reworked bottle “create[s] a vortex as you’re pouring the beer” and is meant to “create buzz and excitement and give consumers another reason to choose Miller”. But very little from the giant’s mouth on how the tool actually works.

And that’s because it doesn’t do much. We’d expect such a well-touted device to give us an added benefit, such as a quicker pour or better head retention. But recorded user tests and a great deal of written banter tell us that the vortex is pretty worthless when it comes to actual function.

Overall appeal: At first glance (assuming you’re in a bright room) this is a pretty alluring product design. The spiraled pattern on the inside of the beer is interesting and leaves many people curious. But it may also leave them disappointed, as after brief inspection you can tell how silly the vortex design really is.

Big beer’s faux craft beer

Looks: I’ve saved the best (or most deceptive) marketing ploy for last. The big beer companies have all begun producing “craft beers” of their own under the guise of entirely different brands, and I’m clumping them together to save a mouthful.

I must say, they get an A+ for looks. These seemingly craft brews sport deliberately artisanal label designs, playing off the artsy, earthy and offbeat feel of many real craft brands.

Function: The purpose of these brands is, of course, for big beer to get their foot in the door to the now booming craft beer market. Since average consumers and longtime drinkers of domestic light beers are now flocking to the craft section of their local stores in droves, the multinational brewers don’t want to miss out on this increasingly lucrative business.

Overall appeal: The appeal with these beers is huge. For one, they taste much richer and have significantly more body than a watered-down light beer, offering an exciting new experience to people who are used to drinking crap. They’re often slightly cheaper than the real craft beers on the shelf (due to the manufacturing and shipping advantages these big brewers possess), and the bottles themselves are attractive.

But as more people are paying attention to and caring about where their beer comes from, they’re discovering that these brands aren’t quite the real deal. An important aspect of the craft brewing community is, in fact, community. Microbreweries and small business owners alike stress the importance of identity, quality and mutual benefit, and many of their consumers take this to heart.

So for as many people that unknowingly (or uncaringly) pick up six packs of these well-disguised wannabes, there’s a growing dialogue in the brewing community that’s turning people off to the deceptive ploy that is faux craft beer.

Any other crafty marketing ploys worth mentioning? Share them with us in the comments below.

Here are the top tweets from this week:

You take a phenomenal candid photo of someone (legally). You love it, but subject hates it and wants it gone. What do you do?

Sik Photography thinks it’s a smart idea to respect the subject’s wishes after snapping a candid. Despite whether or not you think it’s a five-star image, you should value their opinion if they see the image and don’t enjoy the outcome. She argues that you can build a poor reputation pretty quickly if you refuse to remove images that a subject isn’t fond of.

But this can also depend on the type of photography you’re pursuing and the end use of the material being shot. For example, if you’re a photojournalist on assignment for a newspaper, your job depends on the photos you capture in a candid situation. This is where Frank is coming from, and he explains that regardless of a disgruntled subject’s reaction to your images, you have every right to be taking pictures in a public place. When you’re a photojournalist it’s sometimes necessary to cover events that are controversial by nature, so bad word of mouth is something that you’ll just have to deal with.

Pia suggested another approach to this sort of situation that’s a little less volatile. Instead of deleting it on the spot or bluntly denying their requests, she thinks it’s a good idea to set the image aside (without publishing it) for later judgment. You never know if your subject could have a change of heart later on down the road.

At what point in the editing process is a photograph no longer a photograph? Is there a definitive point of no return?

Herschel thinks a photo turns into something else once you alter it in a way that couldn’t be accomplished in a traditional darkroom. So, just about anything more than cropping, color adjustments, dodging and burning would exceed the limits of what a photograph is. Of course, whole objects can potentially be added to or subtracted from an image in the darkroom, but it takes immense skill and hours of work to pull it off properly.

And it’s Frank’s opinion that this very practice is exactly what transforms a photograph into a photo illustration. Photoshop’s clone stamp can target a selection and replicate the area into another part of the image, effectively fabricating the actual content.

When the media reports on a tragedy and includes photos, should they show the uncensored truth or use more “tasteful” images?

Herschel’s thoughts were that the truth always trumps other concerns when considering photo use in the media. He told us that sometimes the best way to convey a terrible tragedy is to show the uncensored fallout, but we should also be conscious of the audience who will be viewing the content and its intended purpose.

I liked Frank’s solution to the dilemma: the media should be displaying the truth, even if it’s graphic, but avoid publishing traumatizing images on the covers of their publications. It’s a good balance that incorporates the interests of both sides of the matter. People are generally worried that children will be haunted by grizzly or shocking depictions that they can’t yet understand. Placing them on the inner folds of a newspaper or magazine will take them out of immediate view but leave them for contextual details when viewers read the story.

Dan talked about seeking a middle ground between the ghastly truth and isolating ourselves from it. His description of these conflicting standards was right on point, and I’m with him when he’s talking about avoiding extremes.

When is it acceptable to photograph someone else’s emotional distress? When is it not? And where do we draw the line?

Pratik Das offered his thoughts on the matter of capturing emotional distress on camera and had a great point. Taking photos of people affected during a sudden tragedy is newsworthy and often can’t be avoided. But it’s much different if you’re approaching someone who is defenseless and in a private environment, like a grieving family in a hospital.

Ariel reinforced this sentiment by stating that it’s only appropriate to shoot someone else’s distress when the purpose is rooted in the greater good. I think he has the right idea: only take the image if it’s going to help the person or draw much-needed attention to the issue in hindsight.

In a dire situation, when should the photographer set the camera aside and step in to help?

Jamie thinks the time to step in is when no one else is there to help the subject. If you’re the only one on the scene and somebody is in bad need of assistance, whether it be medical or otherwise, it’s probably time to step in and lend a hand.

Ben suggested that we take the most helpful course of action depending on the situation, and I think this is a necessary consideration when you’re photographing in a traumatic or even life-threatening scenario. If you’re equipped with the right knowledge or tools to help someone that’s suffering, then you should jump in and do so.

But sometimes we have to weigh the importance of our hands-on involvement against the value of photographic coverage. If there are other people there to aid the subject, if you don’t possess the means to save them or if the situation would put your own life in jeopardy (such as a wounded person in the middle of a shoot-out), then taking photos can be the next best thing. Some of the most disturbing images have brought change and awareness to injustices and atrocities on a global scale, so in effect an image could provoke monumental change and potentially save thousands of lives.

Join us again for the next #photochat, Thursday at 1:00pm EDT! And if you’d like a reminder before we start on Thursday, shoot us a message or tweet to @Prime_Social.

Begin by considering your existing customer base, or at least the people who are interested in the types of products or services you sell.

How old are they?

Are your customers middle-aged parents, teenagers or children? Or perhaps they’re elderly people. Depending on the age group that you serve, you’re going to want to gauge the way you appeal to them. Think about the language you use, the manner of your visual content and the length or duration of the media they’re viewing.

Are they male or female?

Depending on your business, gender could be a factor. The industry your business serves may be predominantly male or female, or your products could be geared toward a particular gender. This should be relatively easy to figure out, but if you’re not sure then give it a deeper look.

Once you have a grasp on the relative ages and genders of your consumer base, it’s time to choose where you’ll be marketing the content you create. Below are a number of social networks that are predominantly frequented by certain genders and age groups.

(Click image for higher resolution)

Sharing your content on the right social networks will draw interest from people who are more apt to view and re-share it. But how do you determine the effectiveness of your content marketing strategy and measure your return on investment?

Prime Social Marketing’s new 37-page ebook is filled with free resources that explain how to measure your return on investment when using social media (and much more). Learn the fundamentals of content marketing through the eyes of a photographer as each aspect is related to the functions of a camera.

Find the infographic above and more in the ebook today!