
When you negotiate a book deal part of the conversation revolves around what
images will be in the book, how many there will be, and, perhaps most
importantly, who will create the images.
There are a lot of different
approaches to consider. Some craft books are text-heavy with just a few
step-by-step images within the instructions supplemented by full-page beauty
shots of the finished projects. Others have computer drawn diagrams or
hand-drawn illustrations showing key steps that are best represented visually.
And still others rely on step-by-step photos to illustrate the text.
My first book has an opening chapter that explains all the basic techniques
you'll need to know to make a fabric bird. My publisher flew me across the
country to their studio and had a professional photographer take the photos
that illustrate this section. Being in a real photo studio was fascinating. There were big rolls of backdrop paper, umbrella lights, and simple white foam core sheets to reflect light.

For the rest of the book they hired a professional illustrator to create
watercolor drawings to illustrate key steps within particular patterns. I sent the illustrator photos and she drew these.

When I began planning Stuffed Animals I felt strongly that I needed
step-by-step photos to illustrate the 16 patterns. I wanted additional photos
to accompany the 52 lessons that break down how the patterns were created and
really teach you how to design your own softies. We were looking at creating
hundreds of photos for this book, in addition to those that would be taken by
Cynthia Shaffer, the wonderful photographer in
California who took the beauty shots of each project.

In order to make this
happen I knew that I’d need to take the photos myself, in my studio, as I was
working on each project. This was a pretty scary prospect for me. I had a digital SLR (a Nikon D-40),
but I really didn't understand it very well. The last time I’d studied
photography was in high school where I’d spent most of the time in class
lusting after our handsome teacher, Mr. Foo. He drove a Harley to school and
wore motorcycle boots. Mr. Foo, my love for you is still unrequited. Call me!
Needless to say I had a lot to learn.
After I signed the book contract I headed over to one of the last locally
owned camera shops in the Boston area, Newtonville Camera, and asked for some
help. I bought four things and with those four things I was able to take all of
the step-by-step photos that you see in the book. Here is what I got:
1. A tripod. I bought a Benro tripod, but I think any sort of sturdy tripod
will do. Play around with it when you get it home. I didn't realize at first
how flexible it was. It can get seriously tall, lean forward, and swivel. I
love it.
2. Studio lights. I bought two Smith Victor KT400 photoflood umbrella
lights. First, I will tell you that the day I set them up was the day we went from
feeling like my studio was in our bedroom to feeling like we were sleeping in my
studio.

This is what you don't see in the shots of me working in my studio: the bed that's right behind me. Glamorous! This is also why we shot the trailer at Gather Here instead of where I really work.
Umbrella lights in your bedroom will do that. But, these puppies are
amazing. That’s two 500 watt bulbs. I can take photos after dark and on cloudy
days with no trouble. It's tempting to leave them on while I'm working because
they flood the room with light and I love light. But, alas, that wouldn't be
good for the electric bill. Natural light is still best, of course, but I love
my umbrellas.

3. A lens. My camera came with a standard 18-55 mm lens that I still use all
the time. In fact, I took the photos for the book with that lens because it
hooks in with the autofocus on my camera so I could feel confident that my shots
were in focus. But I bought a nifty 50 mm lens while at the camera store and ended
up using it to take all the beauty shots for my self-published patterns. You
can dial it down really low and get wonderful depth of field that really
highlights the details in a handmade toy while gently blurring the background.

This plush rubber duck is one of my two dozen self-published patterns.
4. A lesson. I’m a thrifty DIYer and tend to always feel like I have to
learn everything on my own. "Pay someone to help me? Oh, no, I'll just
figure it out." You know what? This last piece ended up being the most
important on the list. While at the camera shop I asked if they knew of a
photographer who might be able to give me a one-on-one lesson in my home
studio. Sure enough, the guy who helped me choose all the equipment said he'd
be happy to do it. We set a time and he came over and it was incredibly
valuable! Why? Because we were in my space, with my light, my camera and
lenses, and my softie parts. I took tons of notes. I asked every single stupid
question I ever had. When he left I knew I was all set. I had this thing under
control.

I have a permanent photo studio set up on my workspace in our bedroom. It's
a low table with a big piece of fabric taped to the wall so that it drapes down
to create a seamless backdrop. I have a brick I wrapped in white fabric and
taped up with surgical tape that props up a piece of white foam core to reflect
light. Sometimes I change the backdrop to a piece of white poster board or
various other big sheets of paper.

Do you need to go out and buy the exact equipment I use? No, of course not.
In fact, I'm sure there's other, better equipment to be had. But if you're
serious about creating craft tutorials, whether for your own blog, as a guest
blogger, for magazine work, or to write a book, I think it’s worth saving up
for some quality equipment and some know-how. There are great online tutorials,
books, and online classes for taking better photos. Start there and play a lot,
then get yourself a one-on-one lesson. It's worth it.