Put your pricing sheet on your web site. Potential clients will then filter themselves, allowing you to concentrate on the ones who can actually afford your service.

Yes. You’re supposed to store them not at the driest place on earth, but rather at a specific rel.humidity (usually 45%).

If you want no shadow on the background, you can either

• Separate the subject farer away, so that the shadow falls outside of the frame, or
• Slightly overcook the background to force it white despite shadows

If you want no shadow on the floor:

• Stand the subject on a white acryllic sheet.
• Raise it a bit above ground level, so that the camera can’t see where the background meets the floor. Place the camera far away and low to help with that.
• Light the subject normally. Don’t bother with lighting the floor panel. It’s reflective and will mirror the background into the camera.

Assuming you have even white on the background, you will also get even white on the “floor”. No need to overexpose anything. You can model the white sneakers properly, despite them being embedded in background white.

With still subjects, this setup even supports foreground/background exposures for automatic clip paths, because the two light groups are pretty much independent.

Turn the screen brightness down when editing.

Print a printer test image from the internet, then place it near (but not right next to) the screen. Turn the brightness down until you get a similar impression from screen vs print. That’s your best setting for editing.

Take a big piece of cardboard, cut out some shape, then place it in the way of the background light before it enters the frame. It will cast the negative as blurry shadow. Think of it as an unfocused gobo. Examples: window with cross bars, tree leaves, etc

In the old days, staff would stand in front of the building from left to right (owner in the middle). You’d take the picture from across the street, with a lens that is wide enough to get the whole building. People will look normal sized relative to building, because they are.

Method #1:

Enable HSS on your flash and increase the speed beyond 1/160.

Method #2:

Keep the speed at 1/160. Close the aperture down until you block out most of the ambient light. A test shot without flash may look pretty dim or totally black. The darker, the less motion blur you’ll get. Add your flash(es) to light your scene almost exclusively. Flashes fire very rapidly, freezing anything that is registered by the camera sensor. You need strong flashes, because they need to overcome your stopped-down aperture. Also, a single flash may not be enough to light the whole scene in a pleasing way. You probably need multiple of them, and light shapers to go with them.

There is this photographer whose images have that street photograhpy look, but are so clean and well composed. It turns out they are actually staged. She frequently scouts locations and light (time of day) with her iPhone. Once she knows what she wants, she comes back and shoots it with a real camera and models, often friends or family. I don’t recall her name though.

Some music bands do that. You do the whole tour with them and take lots of photographs.

However you need to know the few select bands who actually put a photographer on the payroll, and you need to have good contacts to make several of the photos appear on music magazine covers.

You need to be (or bring yourself) in a very unique position for this to work. Think Annie Leibowitz and Rolling Stones. “Normal” bands barely have enough money for gas and food while they tour.