lixhewett

Lix Hewett is a multi-passionate creative: photographer (fine art and freelance), model, graphic designer and writer. She lives in London. You can connect with her through her blog or any of her social media accounts.

How to Design A Photography Business Card In Photoshop (Tutorial)

Designing a business card doesn’t have to be difficult or time-consuming. Most business cards are simple enough: they contain, in readable type, a list of information about you, what you do, and how to get in touch.

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They stay in tune with your branding — the colors, fonts and general message you want to convey to people about your business — so there’s a clear link between them and your portfolio. And they give a little peek into what you do. In this tutorial, I’m going to show you how to design a simple double-sided business card.

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How To Source Locations For Portraits In Your Own Town

I’ve noticed that a lot of articles on scouting locations focus on travel — we have a wonderful one on this website listing 100 amazing places to shoot. That is, however, not actionable advice for everyone. Some photographers can’t afford to travel regularly, some aren’t interested in it, and some simply focus on a different type of photography.

For that reason, I wanted to write an article about ways to find cool locations to shoot in your own town.

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Essential Photography Business Kit: 5 Things to Keep Handy at All Times

Even if you don’t have a business plan, or much of a business to speak of, if you’re going to be or already are a professional photographer, there are certain things you will need and often will be asked for over and over again.

Luckily, you don’t have to do extra work every time to meet these needs — instead, you can put them together once and keep them handy, like tools in a handyman’s box, ready to be pulled out and tweaked whenever they’re necessary.

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Shooting In Manual Mode: The Starter Kit [Infographic]

I was hanging out in one of my blogging groups the other day, and people were discussing things they wanted to do to improve their photography. One thing that popped up a few times was switching to manual mode, and how daunting that seemed.

I am here to tell you that I thought the same thing until I actually went for it. Shooting in manual mode allows you access to a larger number of settings than automatic modes, so you can have fun adjusting all of them.

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20 Reasons Why I Won’t Cover Fashion Week for Free (But I Would for Expenses)

London Fashion Week just wrapped up, and a lot of the people I follow on social media were there, taking over brands’ social media accounts, taking pictures, looking good. I spent most of the past four days sitting around at home with absolutely no plans to go anywhere, and I think if you’d touched me, my relief would have actually rubbed off on you. It was that strong.

I had some leads for this weekend, mainly to work as a street-style photographer. I’m not much of a fashionista, and I didn’t want to throw myself to the wolves, so to speak. I spent a little while contacting people who were looking for photographers for their websites or publications. I don’t have much to show, so it was bound to be a bit of a crapshoot, but I did get some responses.

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Go Ahead And Call Yourself A Photographer, It’s All Right

In the short time since I went pro (read: started making money) with my creative work, I’ve experienced a truly disheartening amount of judgment — snobbish judgment, most of it full of contradictions designed to place some creatives above others based on entirely arbitrary criteria that benefit the speaker and put up a wall of mystery and privilege between people who like to take pictures and the “photographer” label.

I think that’s a whole lot of bull. I think old-school (and some new-school who like to think they’re old-school) creatives feel threatened in many ways by how much more accessible their field of work has become in recent years — decades — and are determined to defend themselves by attacking others’ methods instead of simply taking a step back and realizing that accessibility won’t hurt them. It won’t.

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How to Alienate Photography Models in Five Easy Steps

Back in June, I decided to try my hand at modeling.

Now, this is not completely new — I’ve been modeling for myself (with my mom pressing the shutter button, as I don’t have a remote and have never mastered the self-timer) for about six years now, on and off since I got my first (and only) DSLR. I’ve modeled for my blog and my Lookbook.nu and Chictopia accounts. Since March of 2013, I’ve modeled accessories and jewelry and clothing for small, lovely, independent designers and sellers. As a product review, I’ve modeled a thing or two for bigger brands.

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The Definitive Guide on How and When to Use ISO on Your Camera

When people talk about digital camera settings, there are three main ones that pop up: shutter speed, aperture and ISO. They all relate to light and the way your camera captures it: Shutter speed controls the length of time your camera lets in the light, aperture determines the size of the opening in your lens that light travels through and ISO adjusts the sensitivity of the image sensor.

Knowing how to manipulate these options opens up a well of possibilities for a photographer, and today I’m going to break down the basics of ISO for you.

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All You Have to Know to Master the Basics of White Balance

As an amateur photographer, you can go a long, long time without knowing what white balance is or why knowing how to adjust it even matters. I had my first DSLR (my current DSLR is a Canon EOS 450D) for five years before white balance entered my photography glossary, and it took another few months until it felt necessary—or at least convenient—to learn the ins and out of it.

The thing is, if you have a halfway decent camera, it comes equipped with an automatic white balance (AWB) setting, and that generally does the trick unless your lighting is particularly intense. Even then, you may think the weird, off-balance colors add to the mood of the picture. Hey, sometimes they do! It’s not something that jumps to the eye as “wrong,” the way exposure, depth of field and grain do when they don’t come out right.

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