It's amazing how far digital photography has come in the last decade! When the technology first came out many photographers were very skeptical and they believed that it was going to destroy the world of photography forever and they were scared that everyone was going to be able to become a photographer and remove any kind of professionalism associated with this art form. We all know this isn't the case and in fact digital photography has done more for the world of photography than anything else in history.
What we've come to realize is that digital photography and print photography have been split into two different categories and that neither of the two are better than each other. Going back to that belief that many photographers had about digital photography ruining any form of professionalism, this is of course not the case. There are many professional digital photographers who do amazing work and use this piece of technology to its fullest extent.
So How Do I Get Involved In Digital Photography?
Well it's so simple, all you have to do is go out and buy a digital camera and start shooting! No but seriously though, there are some things you have to know first but they are pretty basic. First of all you are going to need to get a camera with a decent lens. Fortunately most professional cameras come digitally nowadays so you shouldn't have any problem finding one. The benefit of having a camera with a great lens is that you will have the ability to focus on different things in your shots. This is the real art of photography, being able to show something that stands out and has meaning. That meaning you will of course have to find and explain yourself through your pictures.
Benefits of Digital Photography
There are many benefits of digital photography but perhaps the most obvious is that you will have the ability to see what you have taken and choose whether or not it is worth keeping or discarding. The second benefit is that you can also upload your pictures onto your computer so you can edit and change them around. There are lots of different pieces of photo editing software out there that allow you to do amazing things.
If you are just deciding to start digital photography now, then you have started at the right time as we will only start to see more and more advancements in this form of technology in the future which of course we will have the privilege of first trying and testing.
Sunday, 17 May 2009
How to Select the Right Photography School
f you are like many, you have an interest in developing the background and skills necessary to enter the field of photography as career. And what a great career it can be. There is nothing more gratifying than creating a powerful image with your camera and a keen eye. Of course, in order to achieve your goal it is important that you get the right photographic education along with effective coaching and mentoring. With the right education, lots of hard work, and many hours of practice you will soon have the title of professional photographer.
Just like any school you will need to do your research to make sure that the photography school you select will best meet your individual needs. This article is intended to provide you several of the key areas that you should take into consideration as you begin to research good photography schools. After all it is your time and money so you owe it to yourself to make a well educated selection.
In choosing a photography school you should start by looking at the big picture. The selection of a photography school must be aligned with your specific career goals. As with any business field photography presents many opportunities in a wide range of categories. For example, you may have an interest in portrait photography, product advertising, or sports photography. At this point you may be focused more on the general aspects of photography and if so that is okay. But, if you have an area of interest it is worth your investment in time to determine the areas of specialization your short list of photography schools may have to offer. It would also be beneficial if your school of choice provides courses in general business in addition to the photography classes. This will aid you as you move from student to professional status.
I am sure you already know this but I will say it any way. Professional photography is more than point-and-shoot method for making a living. It requires an attention to detail and a wide range of skills including mathematics, business management, marketing and more. So make sure that the photography school you select can provide you the knowledge you need in the area of general business education too. Since many photographers eventually go into business on their own you will find these to be extremely valuable survival skills that will lend to your success.
It is always wise to inquire about the size of the class as well as the ratio of students to teacher. To many people in photography class can really be a hindrance toward proper learning. And it will also prohibit the instructor from providing effective hands-on supervision to each of the students.
Another skill area that should be considered is in the area of computers and you should determine if the photography school of choice provides learning in this area as well. A good photography school needs to have courses on basic computer use as well as more advance courses for those who have an interest in expanding their knowledge of digital photography as well as specialty software used for creating a digital darkroom. Since the field of photography is a very competitive it is imperative that you gain education and knowledge in this area as well.
Lastly, keep in mind that any education will have a price tag associated with it. So unless you just happen to have all of your photography education funding in hand it is worth while to determine if the schools provide scholarships or other forms of financial assistance for their students. Also keep in mind that you will more than likely need to invest in some of your own photography equipment. So I would recommend that you ask for a listing of equipment that the photography school offers to their students as well as a listing of equipment that you need to buy. This will aid you in determining the total cost of your education.
Hopefully, these recommendations will help you build your list of investigation questions so that you can make a wise and well educated decision. Choosing the right school is just as important as having a good view of where you want to go. And the right school is the best way to help you get there.
To Your Success as a Professional Photographer!
Just like any school you will need to do your research to make sure that the photography school you select will best meet your individual needs. This article is intended to provide you several of the key areas that you should take into consideration as you begin to research good photography schools. After all it is your time and money so you owe it to yourself to make a well educated selection.
In choosing a photography school you should start by looking at the big picture. The selection of a photography school must be aligned with your specific career goals. As with any business field photography presents many opportunities in a wide range of categories. For example, you may have an interest in portrait photography, product advertising, or sports photography. At this point you may be focused more on the general aspects of photography and if so that is okay. But, if you have an area of interest it is worth your investment in time to determine the areas of specialization your short list of photography schools may have to offer. It would also be beneficial if your school of choice provides courses in general business in addition to the photography classes. This will aid you as you move from student to professional status.
I am sure you already know this but I will say it any way. Professional photography is more than point-and-shoot method for making a living. It requires an attention to detail and a wide range of skills including mathematics, business management, marketing and more. So make sure that the photography school you select can provide you the knowledge you need in the area of general business education too. Since many photographers eventually go into business on their own you will find these to be extremely valuable survival skills that will lend to your success.
It is always wise to inquire about the size of the class as well as the ratio of students to teacher. To many people in photography class can really be a hindrance toward proper learning. And it will also prohibit the instructor from providing effective hands-on supervision to each of the students.
Another skill area that should be considered is in the area of computers and you should determine if the photography school of choice provides learning in this area as well. A good photography school needs to have courses on basic computer use as well as more advance courses for those who have an interest in expanding their knowledge of digital photography as well as specialty software used for creating a digital darkroom. Since the field of photography is a very competitive it is imperative that you gain education and knowledge in this area as well.
Lastly, keep in mind that any education will have a price tag associated with it. So unless you just happen to have all of your photography education funding in hand it is worth while to determine if the schools provide scholarships or other forms of financial assistance for their students. Also keep in mind that you will more than likely need to invest in some of your own photography equipment. So I would recommend that you ask for a listing of equipment that the photography school offers to their students as well as a listing of equipment that you need to buy. This will aid you in determining the total cost of your education.
Hopefully, these recommendations will help you build your list of investigation questions so that you can make a wise and well educated decision. Choosing the right school is just as important as having a good view of where you want to go. And the right school is the best way to help you get there.
To Your Success as a Professional Photographer!
Macro Photography
Macro photography is one of the most attractive and popular forms of photography. According to some experts it is very easy to master the art and techniques of macro photography – and that is, perhaps, the secret behind its fame.
Definition of Macro Photography:
Strength of the lens or the range of the lens determines whether the style can be called macro photography or not. A camera with a lens that has a 1:1 range should be used in macro photography so that the image size on the negative or slide is equal to the actual size of the subject.
Hence, if you are using 35 mm photographic film, you should use a camera that can focus on 24x36 mm small area. Then only you can take picture of a subject where the image size on photographic film is equal to the real size of the subject.
What’s interesting in Macro Photography:
Macro photography opens up the doors of a new world. It captures minute details of the subjects – such details are not at all visible in the naked eye. Hence, the viewer can reveal a lot of new things in most familiar subjects while watching the photographs. And unfamiliar subjects become more attractive in macro photography. According to photo critics – macro photography is not only attractive, but seductive!
For example, when someone takes a picture of a rusted chain in 1:1 range, you get to see the exact texture of rust. How rusts look like, what is the exact color of rust and many other minute factors come into notice. That’s what makes macro photography attractive.
Ideas & Subjects of Macro Photography:
People with a knack for photography find the subjects their own. They are artists and they have the eye for the right thing. However, those who are new in this field and about to start their career might need help finding the subject.
Snowflakes, water drops, minerals, butterflies, plants, leaves, flowers and flower petals, baby feet and fingers, eyes, spiders and spider web, insects etc. are the common subjects. Get out in your backyard garden and you will find plenty of subjects worth taking a picture. Macro photography ideas are available online to help you develop the ability to find the right subject.
Nature has always been the main subject of photography and art. However, macro photography experts often take photographs of items such as stamps, coins, automobile parts, wrist watch, pen parts, and other small things and collectibles.
Macro Photography Tutorials:
Working in this field is a new experience even for those who have been involved with photography for long. Opportunities are unlimited here – new equipments and techniques are invented everyday. With the advent of digital photography, entire world has been revolutionized.
Digital photography tutorials for macro photography help photographers make full use of digital cameras and other equipments in the process. However, it is not mandatory to use digital cameras. Traditional film based cameras are still popular and will be in the market for next few decades if not centuries.
Experts prefer SLR digital cameras for macro shooting. However, compact point and shoot cameras can yield good result too. To know more about photography, take some lessons or tutorials online. Know about photography techniques and equipments; become an expert photographer.
Definition of Macro Photography:
Strength of the lens or the range of the lens determines whether the style can be called macro photography or not. A camera with a lens that has a 1:1 range should be used in macro photography so that the image size on the negative or slide is equal to the actual size of the subject.
Hence, if you are using 35 mm photographic film, you should use a camera that can focus on 24x36 mm small area. Then only you can take picture of a subject where the image size on photographic film is equal to the real size of the subject.
What’s interesting in Macro Photography:
Macro photography opens up the doors of a new world. It captures minute details of the subjects – such details are not at all visible in the naked eye. Hence, the viewer can reveal a lot of new things in most familiar subjects while watching the photographs. And unfamiliar subjects become more attractive in macro photography. According to photo critics – macro photography is not only attractive, but seductive!
For example, when someone takes a picture of a rusted chain in 1:1 range, you get to see the exact texture of rust. How rusts look like, what is the exact color of rust and many other minute factors come into notice. That’s what makes macro photography attractive.
Ideas & Subjects of Macro Photography:
People with a knack for photography find the subjects their own. They are artists and they have the eye for the right thing. However, those who are new in this field and about to start their career might need help finding the subject.
Snowflakes, water drops, minerals, butterflies, plants, leaves, flowers and flower petals, baby feet and fingers, eyes, spiders and spider web, insects etc. are the common subjects. Get out in your backyard garden and you will find plenty of subjects worth taking a picture. Macro photography ideas are available online to help you develop the ability to find the right subject.
Nature has always been the main subject of photography and art. However, macro photography experts often take photographs of items such as stamps, coins, automobile parts, wrist watch, pen parts, and other small things and collectibles.
Macro Photography Tutorials:
Working in this field is a new experience even for those who have been involved with photography for long. Opportunities are unlimited here – new equipments and techniques are invented everyday. With the advent of digital photography, entire world has been revolutionized.
Digital photography tutorials for macro photography help photographers make full use of digital cameras and other equipments in the process. However, it is not mandatory to use digital cameras. Traditional film based cameras are still popular and will be in the market for next few decades if not centuries.
Experts prefer SLR digital cameras for macro shooting. However, compact point and shoot cameras can yield good result too. To know more about photography, take some lessons or tutorials online. Know about photography techniques and equipments; become an expert photographer.
Mastering the Art of Sports Photography With your Digital Camera
For sports enthusiasts, there’s nothing more exciting than sports people playing their favourite game. The sight of the field, rink or golf course initiates the thrill and anticipation. This, combined with digital photography, can provide some amazing photographic opportunities. However it’s not a matter of point the camera at the person diving for the ball or puck and snapping away. It’s a lot more complicated than that.
In digital photography sports can be quite challenging. The sports people do not present an easy task of being photographed because of the amount of high movement. However, you can indeed achieve great sports digital photography. Most excellent sports digital photography requires good planning and execution.
Here are some exclusive tips for gaining fantastic sports shots in your digital photography.
First things first; know your digital camera. I recommend taking note and practicing first all the settings that sports photography needed. You may find yourself going for the faster shutter speed, increased ISO and burst mode. Let’s take a look at all these things on your digital camera and see how they can be applied to give you sensational sports photos.
High shutter speeds:
As with all moving objects, in order to capture the “frozen in time” look in digital photography a fast shutter speed is required. The faster the movement the fast the shutter speed will need to be. In digital photography the general consensus is that the shutter speed needs to be faster than that of the subject. For example if you have a sliding puck across ice and there is a someone about to take a dive for it then its necessary to quickly mentally assess how fast that person might be traveling at. If they are traveling at approximately 50 kilometers (approx 32 miles) per hour then you may find a very fast shutter speed is needed for this digital photo.
A very fast shutter speed in digital photography may be anything from 500th of a second or higher. For high speed movement you may want to consider an even faster shutter speed of 1000th of a second or something in that range.
Keep in mind that in digital photography a fast shutter speed works to reduce some of the light which is why a higher ISO is often necessary. (I’ll talk about that in a minute.) Usually a if a ball, such as a baseball going at around 145 kilometers an hour (90.09 miles per hour) a shutter speed of around 1/4000 will get you that “suspended ball in mid air” type of photo. For physical movement, such as someone leaping to catch a football, a shutter speed of 1/500 or over is a good place to start.
Now this is all very well if your scene if well lit. But what if you are taking your digital photography shots indoors at night and the light is not quite enough to provide enough light? In most instances, an indoor stadium at night time will be well lit, but that doesn’t always ensure good digital photos. In sports photography we need to understand that we can only control the artistic value and input of our digital photo and the control of the camera. We can’t control the lighting on the scene being such a public event. In digital photography sports photos we must realize that it’s going to be a challenge to begin with. So here are something’s you can in your digital sports photography to increase the amount of light.
If you have a light tool on your digital camera such as a histogram you can get a good idea of what the light levels are like on your sensor. With this handy tool you can adjust the ISO at the time of your pictures taking.
Increase your ISO: A high ISO in digital photography simply means the sensitivity to light that your digital camera has. In a nutshell the more ISO you have increased the image to, the less light the sensor needs. In sports photography an ISO of 400 or higher can work really well. The downside to this is that it does increase noise. To combat this you can use noise reduction software in the post editing process such as Noise Ninja or increase the LAB mode in the post editing process. Don’t be afraid to try a few shots at 400, 800 and even as high as 1600.
Burst mode:
In most sports digital photography this will be one of the settings you will turn to. Burst mode is also known as ‘continuous shooting’. This ‘continuous’ shooting mode allows you to get a sequence of shoots in succession. You can increase your chances of getting that ideal “split second perfect shot” that you might not be able to get by pre-emption or in normal shooting. This also works so beautifully if your digital camera has a painfully long lag time. I’ve used this so many times to get around the high lag my Sony Cyber shot has got. Some cameras have 3 frames per second and some go up to 12 frames per second. You simply select this mode and hold your finger on the shutter button and it will fire off as many shots in 1 second as it can.
Okay so I’ve been talking about your digital camera and the setting’s used for ideal sports digital photography, so what about any external equipment? If you have been thinking about this you’re spot on. You can take as much time with your settings but there’s not much point if you can’t get close to the action. There’s no point having a picture with perfect lighting and perfect action if the players are like dots on a sheet of paper. You need a good telephoto lens if you can’t get close up. A telephoto lens brings you closer because of its long distance capability. It will get you closer to the action but will need a faster shutter speed.
Many fantastic sports digital photos are taken with an emphasis on a very fast shutter speed, an f stop of around the 2.8 mark to blur the background and focus in on the subject. You may find that if your sportsperson is visually separated from the background and you take the digital photograph with a telephoto lens you’ll have a more shallow depth of field which can give you a more powerful feeling in your digital photo. You can get away with a good optical zoom lens, but you’ll get far better digital sports shots with a proper telephoto.
So what about the artistic side of sports photography with your digital camera? Plenty!
Pre-emption and Emotion is the key to good art.
When taking sports photography you probably won’t find a more public display of human emotion. The emotions of a sports person range from intense anticipation to extreme disappointment or extreme exhilaration. Pre-empting when these emotions take place is they key to getting artistic and impressive sports photos. This comes with practicing your digital photography.
SO much pressure is placed on our athletes, expecting them to perform so we can enjoy the show and the investors can enjoy their returns. This is another reason why I say to get a telephoto lens so you can capture the emotions on their faces and their body language. It makes for superb photography. For ideas on ice hockey, have a look at some ice hockey images that are great study tools.
Don’t just look at these digital photos, you must study them. Take on the attitude that studying sports photography will improve your digital sports photos ten fold. You will have a style to emulate and copy to start with then eventually, when you become confident, you’ll start to adopt your own style.
In digital photography sports can be quite challenging. The sports people do not present an easy task of being photographed because of the amount of high movement. However, you can indeed achieve great sports digital photography. Most excellent sports digital photography requires good planning and execution.
Here are some exclusive tips for gaining fantastic sports shots in your digital photography.
First things first; know your digital camera. I recommend taking note and practicing first all the settings that sports photography needed. You may find yourself going for the faster shutter speed, increased ISO and burst mode. Let’s take a look at all these things on your digital camera and see how they can be applied to give you sensational sports photos.
High shutter speeds:
As with all moving objects, in order to capture the “frozen in time” look in digital photography a fast shutter speed is required. The faster the movement the fast the shutter speed will need to be. In digital photography the general consensus is that the shutter speed needs to be faster than that of the subject. For example if you have a sliding puck across ice and there is a someone about to take a dive for it then its necessary to quickly mentally assess how fast that person might be traveling at. If they are traveling at approximately 50 kilometers (approx 32 miles) per hour then you may find a very fast shutter speed is needed for this digital photo.
A very fast shutter speed in digital photography may be anything from 500th of a second or higher. For high speed movement you may want to consider an even faster shutter speed of 1000th of a second or something in that range.
Keep in mind that in digital photography a fast shutter speed works to reduce some of the light which is why a higher ISO is often necessary. (I’ll talk about that in a minute.) Usually a if a ball, such as a baseball going at around 145 kilometers an hour (90.09 miles per hour) a shutter speed of around 1/4000 will get you that “suspended ball in mid air” type of photo. For physical movement, such as someone leaping to catch a football, a shutter speed of 1/500 or over is a good place to start.
Now this is all very well if your scene if well lit. But what if you are taking your digital photography shots indoors at night and the light is not quite enough to provide enough light? In most instances, an indoor stadium at night time will be well lit, but that doesn’t always ensure good digital photos. In sports photography we need to understand that we can only control the artistic value and input of our digital photo and the control of the camera. We can’t control the lighting on the scene being such a public event. In digital photography sports photos we must realize that it’s going to be a challenge to begin with. So here are something’s you can in your digital sports photography to increase the amount of light.
If you have a light tool on your digital camera such as a histogram you can get a good idea of what the light levels are like on your sensor. With this handy tool you can adjust the ISO at the time of your pictures taking.
Increase your ISO: A high ISO in digital photography simply means the sensitivity to light that your digital camera has. In a nutshell the more ISO you have increased the image to, the less light the sensor needs. In sports photography an ISO of 400 or higher can work really well. The downside to this is that it does increase noise. To combat this you can use noise reduction software in the post editing process such as Noise Ninja or increase the LAB mode in the post editing process. Don’t be afraid to try a few shots at 400, 800 and even as high as 1600.
Burst mode:
In most sports digital photography this will be one of the settings you will turn to. Burst mode is also known as ‘continuous shooting’. This ‘continuous’ shooting mode allows you to get a sequence of shoots in succession. You can increase your chances of getting that ideal “split second perfect shot” that you might not be able to get by pre-emption or in normal shooting. This also works so beautifully if your digital camera has a painfully long lag time. I’ve used this so many times to get around the high lag my Sony Cyber shot has got. Some cameras have 3 frames per second and some go up to 12 frames per second. You simply select this mode and hold your finger on the shutter button and it will fire off as many shots in 1 second as it can.
Okay so I’ve been talking about your digital camera and the setting’s used for ideal sports digital photography, so what about any external equipment? If you have been thinking about this you’re spot on. You can take as much time with your settings but there’s not much point if you can’t get close to the action. There’s no point having a picture with perfect lighting and perfect action if the players are like dots on a sheet of paper. You need a good telephoto lens if you can’t get close up. A telephoto lens brings you closer because of its long distance capability. It will get you closer to the action but will need a faster shutter speed.
Many fantastic sports digital photos are taken with an emphasis on a very fast shutter speed, an f stop of around the 2.8 mark to blur the background and focus in on the subject. You may find that if your sportsperson is visually separated from the background and you take the digital photograph with a telephoto lens you’ll have a more shallow depth of field which can give you a more powerful feeling in your digital photo. You can get away with a good optical zoom lens, but you’ll get far better digital sports shots with a proper telephoto.
So what about the artistic side of sports photography with your digital camera? Plenty!
Pre-emption and Emotion is the key to good art.
When taking sports photography you probably won’t find a more public display of human emotion. The emotions of a sports person range from intense anticipation to extreme disappointment or extreme exhilaration. Pre-empting when these emotions take place is they key to getting artistic and impressive sports photos. This comes with practicing your digital photography.
SO much pressure is placed on our athletes, expecting them to perform so we can enjoy the show and the investors can enjoy their returns. This is another reason why I say to get a telephoto lens so you can capture the emotions on their faces and their body language. It makes for superb photography. For ideas on ice hockey, have a look at some ice hockey images that are great study tools.
Don’t just look at these digital photos, you must study them. Take on the attitude that studying sports photography will improve your digital sports photos ten fold. You will have a style to emulate and copy to start with then eventually, when you become confident, you’ll start to adopt your own style.
Digital SLR Vs digital camera by Monty Alexander
Digital SLR cameras have become quite a rage recently. So what exactly is a digital SLR camera and how is it different from a digital camera? Here's a sneak peak in to the technicalities of a camera to help you choose the perfect camera for your needs and not get carried away but some hi tech gizmo you don't really require.
What is a digital SLR camera? A digital SLR (Single Lens Reflex) camera is a higher and more technical version of a regular digital camera. The most prominent difference is that a digital SLR camera allows you to attach and detach lenses to enhance your photography experience. The digital SLR camera is for photography professionals and photography enthusiasts.
Main points of difference between a digital SLR camera and a regular digital camera cost - Cost is the major difference between a digital SLR camera and a regular digital camera. Even though the cost of digital SLR camera has reduced significantly, the price of a regular digital camera remains to be substantially low as compared to digital SLRs. If price is a concern for you then you could look at buying a high end digital camera instead.
Movie capturing - Traditionally digital SLRs were designed to capture still photography and not videos. But recently digital SLR cameras like Nikon D90 and Canon 5D Mark II, digital SLR cameras can capture high definition videos as well. But sill this feature remains quite rare while almost all regular digital cameras can capture videos in addition to still photography.
Zoom - The regular digital cameras have electronic automatic zoom. You don't have to adjust the zoom manually. In a digital SLR camera the zoom needs to be adjusted manually.
Travelling partner - If you are looking for a travel friendly camera that simply fits in your pocket or hip pouch, a digital SLR camera is not for you. You should go in for the compact digital camera. Digital SLR camera has hi tech apparatus and requires a special case or bag to carry the delicate lens.
Final Say- Depends on what do you want. If you have had quite a hand at photography and you think it's time to upgrade, buy a digital SLR camera. But if you have just started or maybe not a very enthusiastic photographer, look for a nice digital camera. You will not regret the quality of images with a regular digital camera plus you get the added advantage of video shooting also.
What is a digital SLR camera? A digital SLR (Single Lens Reflex) camera is a higher and more technical version of a regular digital camera. The most prominent difference is that a digital SLR camera allows you to attach and detach lenses to enhance your photography experience. The digital SLR camera is for photography professionals and photography enthusiasts.
Main points of difference between a digital SLR camera and a regular digital camera cost - Cost is the major difference between a digital SLR camera and a regular digital camera. Even though the cost of digital SLR camera has reduced significantly, the price of a regular digital camera remains to be substantially low as compared to digital SLRs. If price is a concern for you then you could look at buying a high end digital camera instead.
Movie capturing - Traditionally digital SLRs were designed to capture still photography and not videos. But recently digital SLR cameras like Nikon D90 and Canon 5D Mark II, digital SLR cameras can capture high definition videos as well. But sill this feature remains quite rare while almost all regular digital cameras can capture videos in addition to still photography.
Zoom - The regular digital cameras have electronic automatic zoom. You don't have to adjust the zoom manually. In a digital SLR camera the zoom needs to be adjusted manually.
Travelling partner - If you are looking for a travel friendly camera that simply fits in your pocket or hip pouch, a digital SLR camera is not for you. You should go in for the compact digital camera. Digital SLR camera has hi tech apparatus and requires a special case or bag to carry the delicate lens.
Final Say- Depends on what do you want. If you have had quite a hand at photography and you think it's time to upgrade, buy a digital SLR camera. But if you have just started or maybe not a very enthusiastic photographer, look for a nice digital camera. You will not regret the quality of images with a regular digital camera plus you get the added advantage of video shooting also.
Saturday, 16 May 2009
Be a better wedding photographer
Weddings are packed with photo opportunities, here's how to make the most of them
Wedding photography is a job best left to the professionals. While the official photographer is busy taking time consuming group shots though, you've got the perfect opportunity to capture the more candid moments. Exactly the kind of images your bride & groom are bound to love.
Be snap happy Get into the habit of taking a few shots of each image, that way you won't be disappointed when someone has their eyes shut or is pulling an awkward expression in digital photo prints .
Wait for it It's important not to get in the professional photographer's way. Instead, wait until just after each formal photo shot has been taken and then take yours - you'll get a far more relaxed look.
Act on instinct Timing is everything. Some photos might not be quite how you'd like them but if you see something interesting just grab the moment. You can always re-crop an image at a later date but you can't re-enact spontaneity.
Focus on fun It's the funny little things that happen that make each wedding unique. With so much going it's often such moments that get missed - like young bridesmaids running riot, or the pageboy trying on a top hat that's far too big for him.
Use your advantage Remember the professional photographer won't know the people they're photographing. If you do then take couple shots and get little informal family groups together, this will give your photos more meaning.
Eye for detail A variety of close-up shots will add interest to your photos. Details such as flowers, favours and menus will all have been carefully chosen, making them worthy of photographing and popping in photo albums .
Mixture of monochrome Monochrome can be an effective way of disguising a dull day or a poorly lit venue. It's also a great of cutting out clashing colours and focusing attention on the emotion of the day - just what you want at a wedding.
Get in quick Many newlyweds have to wait weeks after their honeymoon to get a glimpse of their professional photos, and it might be months until their final photo album is ready. Get ahead of the game by uploading your photos as soon as the celebrating done, and share them online before the bride & groom even jet off.
The personal touch As an alternative to photo printing , why not turn one of your favourite photos of the day into a canvas or collage print? Far more personal than buying from the gift list and a guaranteed sure fire hit!
Get a great deal When ordering prints think who else might like a copy. Order an extra batch of photos for the couple and both sets of parents, along with some individual prints of any other couples you've photographed. By ordering all your photos at the same time you'll get a great discount on the price, so everyone will assume you've been far more generous than you really have - result!
A Stylebook is a great way to tell the story of the entire day, or how about a Photobook. A Canvas Print is certain to impress, or get creative with a Collage.
Wedding photography is a job best left to the professionals. While the official photographer is busy taking time consuming group shots though, you've got the perfect opportunity to capture the more candid moments. Exactly the kind of images your bride & groom are bound to love.
Be snap happy Get into the habit of taking a few shots of each image, that way you won't be disappointed when someone has their eyes shut or is pulling an awkward expression in digital photo prints .
Wait for it It's important not to get in the professional photographer's way. Instead, wait until just after each formal photo shot has been taken and then take yours - you'll get a far more relaxed look.
Act on instinct Timing is everything. Some photos might not be quite how you'd like them but if you see something interesting just grab the moment. You can always re-crop an image at a later date but you can't re-enact spontaneity.
Focus on fun It's the funny little things that happen that make each wedding unique. With so much going it's often such moments that get missed - like young bridesmaids running riot, or the pageboy trying on a top hat that's far too big for him.
Use your advantage Remember the professional photographer won't know the people they're photographing. If you do then take couple shots and get little informal family groups together, this will give your photos more meaning.
Eye for detail A variety of close-up shots will add interest to your photos. Details such as flowers, favours and menus will all have been carefully chosen, making them worthy of photographing and popping in photo albums .
Mixture of monochrome Monochrome can be an effective way of disguising a dull day or a poorly lit venue. It's also a great of cutting out clashing colours and focusing attention on the emotion of the day - just what you want at a wedding.
Get in quick Many newlyweds have to wait weeks after their honeymoon to get a glimpse of their professional photos, and it might be months until their final photo album is ready. Get ahead of the game by uploading your photos as soon as the celebrating done, and share them online before the bride & groom even jet off.
The personal touch As an alternative to photo printing , why not turn one of your favourite photos of the day into a canvas or collage print? Far more personal than buying from the gift list and a guaranteed sure fire hit!
Get a great deal When ordering prints think who else might like a copy. Order an extra batch of photos for the couple and both sets of parents, along with some individual prints of any other couples you've photographed. By ordering all your photos at the same time you'll get a great discount on the price, so everyone will assume you've been far more generous than you really have - result!
A Stylebook is a great way to tell the story of the entire day, or how about a Photobook. A Canvas Print is certain to impress, or get creative with a Collage.
Photographic Ideas
How would like to get paid for taking good photos and selling them? That's what this opportunity is all about. And it doesn't matter where you live. Thanks to the Internet there are more opportunities for freelance photographers working from anywhere in the world.
The life of a photographer is never boring. One week you might be shooting some new images to build up your collection of stock photography. The next you might be working on assignment for a large corporation. And another time you might be shooting photos for a magazine article or travel publication.
In case you hadn't already realized, the digital photography industry has been enjoying an explosion in growth, and it is technology that has led this boom. Technology has led to the development and production of millions of advanced digital cameras, and it has also led to growth in the Internet which photographers are using to upload, share and email their photos.
That's also why photography-related sites are being snapped up. Yahoo acquired Flickr back in 2005 for $30 million. MySpace acquired Photobucket for $250 million in May 2007. And many other other photo-related sites are currently being targeted for acquisition.
This explosion of growth in the digital photography industry has also been very positive for freelance photographers.
Every year, millions of new web sites come online. Hundreds of thousands of web masters and authors are actively searching for good photos to illustrate their web sites, ebooks, ezines, and other online publications.
Turn on the news or pick up a magazine and you'll discover stories of moms running home-based businesses selling photos online. They are not only having lots of fun and doing something they love - they are banking regular paychecks from photography sites and depositing additional payments for hundreds of dollars from selling photos to magazines.
Would you like to get in on the action? In Sell Your Digital Photos we show you exactly how you can get started selling your photos today!
We don't just discuss one way to sell photos, we show you a number of ways - so that you can make the most of every opportunity to cash in with your snapshots!
And don't forget, as a freelance photographer YOU get to decide just how many hours you put into your new business. So if you want to give yourself a break or take some time off to spend with your family or friends, you can do it!
This is a great career and a truly exciting lifestyle.
So, would you like to be paid for taking photos? If yes, then there's nothing to stop you from taking the first steps right now.
The life of a photographer is never boring. One week you might be shooting some new images to build up your collection of stock photography. The next you might be working on assignment for a large corporation. And another time you might be shooting photos for a magazine article or travel publication.
In case you hadn't already realized, the digital photography industry has been enjoying an explosion in growth, and it is technology that has led this boom. Technology has led to the development and production of millions of advanced digital cameras, and it has also led to growth in the Internet which photographers are using to upload, share and email their photos.
That's also why photography-related sites are being snapped up. Yahoo acquired Flickr back in 2005 for $30 million. MySpace acquired Photobucket for $250 million in May 2007. And many other other photo-related sites are currently being targeted for acquisition.
This explosion of growth in the digital photography industry has also been very positive for freelance photographers.
Every year, millions of new web sites come online. Hundreds of thousands of web masters and authors are actively searching for good photos to illustrate their web sites, ebooks, ezines, and other online publications.
Turn on the news or pick up a magazine and you'll discover stories of moms running home-based businesses selling photos online. They are not only having lots of fun and doing something they love - they are banking regular paychecks from photography sites and depositing additional payments for hundreds of dollars from selling photos to magazines.
Would you like to get in on the action? In Sell Your Digital Photos we show you exactly how you can get started selling your photos today!
We don't just discuss one way to sell photos, we show you a number of ways - so that you can make the most of every opportunity to cash in with your snapshots!
And don't forget, as a freelance photographer YOU get to decide just how many hours you put into your new business. So if you want to give yourself a break or take some time off to spend with your family or friends, you can do it!
This is a great career and a truly exciting lifestyle.
So, would you like to be paid for taking photos? If yes, then there's nothing to stop you from taking the first steps right now.
Features of Royalty-Free Stock Image
Stock Image includes stock photography and stock footage, means images that can be licensed for specific uses. their uses are very popular with designers, graphic artists, art directors, advertising agencies, and marketing professionals, in magazine advertisements, websites, and marketing brochures. Instead of hiring a professional photographer to create an image. A collection of stock photography may also be called a photo archive, picture library, image bank or photo bank.
Since 1920's, images could be filed at an agency that negotiates licensing fees on the photographer's behalf in exchange for a percentage. With the advent of the digital photography, and so many people armed with cameras of high enough quality to shoot great photos, it is a good idea to make these photos available to each other, at a low price, while paying the photographers a commission for each photo sold. Today, the Internet wave pushes this business increasingly blossoming online, especially with the newer micro-stock models.
In this industry, a important feature is so-called "Royalty-free". "Free" in this context means "free of royalties (paying each time you use an image)". It does not mean the image is free to use without purchasing a license or that the image is in the public domain. Details: 1. Pay a one-time fee to use the image multiple times for multiple purposes (with limits). 2. No time limit on when the buyer can use an image. 3. No one can have exclusive rights of a Royalty-free image (the photographer can sell the image as many times as he or she wants). 4. A Royalty-free image usually has a limit to how many times the buyer can reproduce it. For example, a license might allow the buyer to print 10,000 brochures with the purchased image. The amount of copies made is called the print run. Above that print run the buyer is required to pay a fee per brochure. Those magazines with a large print run cannot use a basic Royalty-free license and therefore they either purchase images with an extended license or have in-house photographers.
There are two kinds of licenses, Basic and Extended.
With a Basic License, licensee may print or use the image for their personal use in any size provided that there is no subsequent sale or transfer to other persons. The images that users download under the Basic License may be used to make fine art prints, on web sites, in magazines, newspaper, products, software, newsletters, advertisements, flyers, packaging, marketing material, school assignments, presentations, and within films or videos, books or booklets, in either printed or electronic media, as long as the item in which the image appears does not contradict some restrictions. Note that the maximum number of copies for printed materials is limited, for example 10,000 copies. The images that users download with the Basic License also may be used as "editorial use" to illustrate truthful articles or broadcasts appearing in magazines, newspapers or any other editorial context, in either printed or electronic media.
But only With a Basic License, users may not use the images in products in which these images are dominant feature if the product is to be subsequently sold or distributed. Examples include posters, postcards, greeting cards, mugs, T-shirts, canvas, hats, mouse pads, magnets, art prints, paintings, or calendars, and screensavers, web templates, software, web page builders, gallery, or any system where the image file can be unincorporated from the software or system or be shared among, transferred to, or otherwise distributed to a number of users. It is also forbidden to make the image available on a website for download (as wallpapers for example). The use of images for these purposes under the Basic License is not permitted. In these cases, users should buy Extended Licenses.
The following licenses offer extended types of usage for Basic Licenses. These are additional licenses to the rights included within the Basic Licenses. Note that the other restrictions still apply. 1. Increase Max Copies: Extends our Basic Licenses to a maximum amount of printed copies, let us say up to 1,000,000 copies, etc. 2. Electronic Items for Resale: this license includes the right to use the images for web templates that are sold to more customers, screensavers, e-cards, PowerPoint presentations or as wallpapers on cell phones. 3. Physical Items for Resale: includes the right to use the photos for T-shirts, postcards, greeting cards, mugs, mouse pads, posters, calendars, framed artwork that is to be sold to other customers.
Note, buying the high-resolution image (purchasing the license) does not transfer the copyright.
Another important feature of web-based stock photography collections is that the images have been embedded with meta-data, therefore making the images searchable by using keywords. This feature helps users finding photos or footages very quickly over the Internet and make the cost lower and lower. Finally, more and more people can enjoy high quality digital images and videos, and the world becomes more and more beautiful.
Since 1920's, images could be filed at an agency that negotiates licensing fees on the photographer's behalf in exchange for a percentage. With the advent of the digital photography, and so many people armed with cameras of high enough quality to shoot great photos, it is a good idea to make these photos available to each other, at a low price, while paying the photographers a commission for each photo sold. Today, the Internet wave pushes this business increasingly blossoming online, especially with the newer micro-stock models.
In this industry, a important feature is so-called "Royalty-free". "Free" in this context means "free of royalties (paying each time you use an image)". It does not mean the image is free to use without purchasing a license or that the image is in the public domain. Details: 1. Pay a one-time fee to use the image multiple times for multiple purposes (with limits). 2. No time limit on when the buyer can use an image. 3. No one can have exclusive rights of a Royalty-free image (the photographer can sell the image as many times as he or she wants). 4. A Royalty-free image usually has a limit to how many times the buyer can reproduce it. For example, a license might allow the buyer to print 10,000 brochures with the purchased image. The amount of copies made is called the print run. Above that print run the buyer is required to pay a fee per brochure. Those magazines with a large print run cannot use a basic Royalty-free license and therefore they either purchase images with an extended license or have in-house photographers.
There are two kinds of licenses, Basic and Extended.
With a Basic License, licensee may print or use the image for their personal use in any size provided that there is no subsequent sale or transfer to other persons. The images that users download under the Basic License may be used to make fine art prints, on web sites, in magazines, newspaper, products, software, newsletters, advertisements, flyers, packaging, marketing material, school assignments, presentations, and within films or videos, books or booklets, in either printed or electronic media, as long as the item in which the image appears does not contradict some restrictions. Note that the maximum number of copies for printed materials is limited, for example 10,000 copies. The images that users download with the Basic License also may be used as "editorial use" to illustrate truthful articles or broadcasts appearing in magazines, newspapers or any other editorial context, in either printed or electronic media.
But only With a Basic License, users may not use the images in products in which these images are dominant feature if the product is to be subsequently sold or distributed. Examples include posters, postcards, greeting cards, mugs, T-shirts, canvas, hats, mouse pads, magnets, art prints, paintings, or calendars, and screensavers, web templates, software, web page builders, gallery, or any system where the image file can be unincorporated from the software or system or be shared among, transferred to, or otherwise distributed to a number of users. It is also forbidden to make the image available on a website for download (as wallpapers for example). The use of images for these purposes under the Basic License is not permitted. In these cases, users should buy Extended Licenses.
The following licenses offer extended types of usage for Basic Licenses. These are additional licenses to the rights included within the Basic Licenses. Note that the other restrictions still apply. 1. Increase Max Copies: Extends our Basic Licenses to a maximum amount of printed copies, let us say up to 1,000,000 copies, etc. 2. Electronic Items for Resale: this license includes the right to use the images for web templates that are sold to more customers, screensavers, e-cards, PowerPoint presentations or as wallpapers on cell phones. 3. Physical Items for Resale: includes the right to use the photos for T-shirts, postcards, greeting cards, mugs, mouse pads, posters, calendars, framed artwork that is to be sold to other customers.
Note, buying the high-resolution image (purchasing the license) does not transfer the copyright.
Another important feature of web-based stock photography collections is that the images have been embedded with meta-data, therefore making the images searchable by using keywords. This feature helps users finding photos or footages very quickly over the Internet and make the cost lower and lower. Finally, more and more people can enjoy high quality digital images and videos, and the world becomes more and more beautiful.
Interview with Stock Photographer Inti St. Clair
John: From my perspective, you are young, hip and successful. Can you tell us a bit about your journey to where you are now?
Inti: LOL. I'm flattered you think of me in that way…not sure I can agree, but, thanks!
My journey here was a long, winding one: After living in Austria for a year in High School, I got the travel bug, and knew whatever I did, I wanted to travel the world doing it.
Of course photography fits well into that, but to be frank, I was daunted by it. Not sure why exactly… likely the fear of failure. So at that point, as much as I loved photography, I didn't give it much more than a passing thought. I recognized I have a natural ability toward learning languages, so I majored in Foreign Languages in college, hoping it would segue into a career that would help me feed the travel addiction.
Junior year, while living in Chile, I took my first photography class. I loved it, but I was pretty terrible at it-I think some of that had to do with the language barriers, but nonetheless the truth remains…the prof. passed me out of pity. Also during that year, I decided I couldn't think of a career I actually wanted that would involve my language skills, so I decided to use my obsession with food to become a chef.
I dove into it full force-worked my way up to sous-chef in 6 months, and chef within a year, all while going to school full time to finish my degree. I loved cooking professionally, but not as much as I love traveling, and four years into it, after working 196 hours in two weeks, I realized I was never going to have the life I wanted as a chef.
I quit, and, deciding photography really was the best fit, and I'd hate myself if I didn't really give it a fair try, I enrolled in Rocky Mountain School of Photography's Summer Intensive program. Two and a half months of living, breathing photography, and I was HOOKED.
After that (August 2000), I moved to Seattle, started assisting for anyone who would take me. As fate would have it, I was on a job with an architectural photographer, Robert Pisano, at a restaurant where Jonathan & Amy Ross were dining. After they left, and I checked out their work, I demanded he introduce me at the soonest possible moment.
I met them officially at an ASMP event a few weeks later, and knew instantly I wanted to work for them. They were just getting into stock full time transitioning from the commercial world, and hadn't really thought they were ready to hire anyone, so I started out Part Time.
I was their …everything. LOL Studio manager, producer, assistant …you name it. Through that job, I fell in love with the stock photo industry. It truly was the experience/education of a lifetime. Jonathan is an amazing stock photographer-one of the very best. I'm still in awe of his ability to light on the fly like he does, and he can produce more selling images in less time than anyone else I know! I worked for Andersen Ross for 4 years before I went out on my own.
I always knew I would go out on my own---mostly because as much as I love producing, I love shooting more, not to mention the fact that only by being self-employed can I travel as much as I want to.
John: You shoot Lifestyle, Food, Travel, Architecture and more. The conventional wisdom is that success is easier obtained through specialization. What is your view on that?
Inti: Honestly, I hadn't really thought about it. At Andersen Ross we shot Lifestyle, I know that it sells the best, and more than anything, I love shooting people, so that's what I shoot primarily.
The Travel imagery I shoot because I love to travel and to capture the places I visit, but I definitely do it with the knowledge that I want to put it into the commercial stock world.
The Food photography thing started a year and a half ago when I decided to write a cookbook to give away to friends and family at my wedding. Funny, but I never thought I would enjoy it as much as I do (I have never really liked shooting in the studio, and find product photography really boring.)
It's so different from lifestyle-for me it's a form of…relaxation. Obviously, I love to cook, so I usually just cook, drink some wine, take some photos, and then eat! It's an added bonus that I have an outlet to sell those images. I guess in the end, I just specialize in shooting what I am passionate about!
John: Is there one thing you like shooting the most?
Inti: Definitely people- preferably on location. I just got back from shooting on Ohau, Hawaii. 20 shoots, 47 models, 12 days. It was amazing! Next time though I think I'll not produce quite so much so I can actually enjoy paradise a bit more. ;)
John: How much of work is assignment, and how much is stock?
Inti: Last year it was about 2/3 stock, 1/3 assignment. I got some really great assignment jobs last year, especially considering I don't do any advertising for assignment work.
John: Do you have a preference for either assignment or stock?
Inti: I think of myself as a stock photographer, and overall I can say I prefer it. I have definitely really enjoyed some of the assignment jobs I've done, but I love the freedom of producing my own shoots.
John: How is the stock world treating you these days?
Inti: Well, royalties are definitely down. I know I'm not the only one experiencing that. It's a bummer, but ultimately, I still feel like I make a great living doing what I truly love to do, and for that I am really grateful.
John: Who handles your stock, and do you do any direct sales?
Inti: My main agencies are Getty and Blend Images. I'm also with Jupiter, Cultura, Danita Delimont, and Uppercut. I don't do any direct sales. The whole direct sales thing intrigues me, but I can't imagine trying to take that on without having some sort of staff. At this point, I'm a one-woman show, and work way too much as it is!
John: How do you market yourself?
Inti: I don't. Embarrassing, but true. It's on my list of things to do…and has been for a long time. I just get too wrapped up in producing, shooting, and post-production. In all honesty, I've been really fortunate to have some great assignment jobs fall in my lap, and I haven't made marketing a priority. I need/intend to though! LOL
John: What role does the internet and/or your web site play in your business? Do you have any changes in your internet presence planned?
Inti: Good questions! I have a web site-the basic function of which is just to prove legitimacy. By that I mean I street cast all the time, so it serves to show models I am what I say I am, and get them excited to work for me.
I intend, this year, to re-vamp, and really start marketing it/myself, so hopefully it will help me get some more assignment work too. Additionally, I'm on Twitter, Facebook, Linked-in, etc… At this point, all of those things have proven to be a lot of fun, and great for networking with other photographers/like minded people, but I haven't gotten any work as a result (yet ;)).
I toss around the idea of a blog-I regularly read those of some of the photographers I really admire-You, Chase Jarvis, Shalom Ormsby, Vincent Laforet, Strobist… I thoroughly enjoy reading them, and can see that it, as well as other online networking forums, can serve as an amazing marketing tool. I think Chase is an especially exceptional example of someone who uses the web and all it has to offer for that.
For me, I do sometimes feel I'm missing out by not utilizing what's out there in this realm better, but it comes down to time, and I don't have enough of it!
John: Has the economic downturn impacted your business?
Inti: Absolutely. As I mentioned before, royalties are down considerably. This means having to produce a lot more to make the same amount as before.
John: If so, how are you dealing with that?
Inti: Mostly by keeping my costs as low as I can. I don't have any staff. I rarely hire assistants. I really do every part of my business, from producing all my own shoots, to editing, to post production on images.
John: When shooting stock, from where do you get your ideas and inspiration?
Inti: Everywhere! Sometimes it's based on a great location, or model. Sometimes I see a hole in an agency's collection, or get the idea from a creative research brief. Sometimes I see a movie or other photographs, and want to try and capture a similar feel in regards to lighting or emotion…Inspiration is all around-you just have to pay attention to it.
John: Do you have a typical way of approaching a shoot?
Inti: Hmmm. That's something I have been thinking about a lot lately. I feel like I usually try to get as much done in as little time as possible. Sometimes, that's a great approach, but I think I would benefit from slowing down, focusing more, and really crafting images as I envision them.
John: Does that differ for assignment and stock?
Inti: Well, with assignment, I'm usually working on other people's schedules, and often other people's visions, so in that case, they're a lot more in charge of how things flow. I just try and create the best images I can to fulfill their expectations.
John: What is the biggest challenge for you in shooting stock?
Inti: I guess I have to say it's keeping up with the post-production. I am in awe of what can be done in Photoshop-especially when I look at the work photographers like you and Colin Anderson do.
I'm constantly seeking to improve my skills, and though I get a lot of satisfaction out of working on images, I get tired of sitting in front of the computer for days on end. I'm a very social person, and can only do it for so long before I start itching to be out there shooting and interacting with people again.
As a result, I shoot a lot, and I always seem to have a mountain of post-production work waiting for me. I do get help here and there, but I always go over every image after they're done, and work on them some more. Maybe I am just a control freak, and need to get over it….lol
John: How about with assignments?
Inti: When I'm shooting stock, I know when I've gotten what I want. When shooting assignment, it's not always clear. More often than not, it's a communication issue. It can be a real challenge trying to capture someone else's vision-especially whey that can't communicate to you well what that vision is.
John: What do you consider your "big break" (or the closest thing to one)?
Inti: Without question the job with Andersen Ross. I was able to get down and dirty, and learn the industry from top to bottom from one of the best.
John: Did/do you have a mentor?
Inti: Jonathan at Andersen Ross. I haven't worked there for 3+ years, but we still keep in touch, and I'm consistently in awe of what he does and how much he produces.
John: Which, if any, photographers have had an important influence in your career?
Inti: Beyond Jonathan, I would say I have a huge list of photographers who inspire me (it's growing constantly), how influential they are is not really something I've thought about, but I'm sure they are.
I am definitely inspired by the photographers who started Blend. In the stock side of things find Colin Anderson, Stewart Cohen, and your imagery especially compelling-I admire how you're constantly putting unique imagery into the stock market.
A few non stock photographers whose work I love (off the top of my head): Sebastiao Salgado, Peter Lindbergh, Andreas Bitesnich, Lara Jade…
John: What keeps you going?
Inti: Passion. I also enjoy the challenge of being a photographer. I'm someone who can get easily bored, but this industry is constantly changing-there's always new stuff to learn, new gear to try, and room to improve-I don't for see boredom ever becoming an issue.
John: Where would you like to be (in a photography sense) five years from now?
Inti: Hopefully doing more creative work in both stills and motion, for stock and assignment, loving it as much as I do now. (and still be able to pay all my bills, and travel the world doing it!)
John: Our industry is going through constant change at an astounding pace. Do you have any predictions about where things are headed?
Inti: In regards to stock, it's becoming harder and harder to be just a stock photographer-there is so much competition, the market is flooded with imagery, and since pretty much anyone can get a microstock contract, it's only going to get worse.
When you also take into consideration the rapid advancement of digital technology (not to mention the lower cost of said technology; 2 years ago to get a decent camera you had to drop $8K now you can get something even better for under $3K), it's blatantly clear that the phenomenon is only going to intensify.
I think, in order to survive, the pros are going to have to diversify. By that I mean, a mix of stock and assignment, by shooting stills, and getting involved in motion. I definitely think motion imagery is going to continue to play an increasingly large role in the photo world…
John: Do you have any plans to get into motion?
Inti: Yes. In what capacity, I'm not sure. By that I mean to say I don't know if it will be as a director, camera operator, or what. In my limited experience thus far, I have come to realize that unlike still photography, it's not something I can do on my own.
I have a contract with Getty for motion, so I'm going to start playing with motion, and see where it takes me.
John: Any special projects you are working on or considering?
Inti: Nothing specific at the moment. Need to plow through the mountain of post production I'm buried under before I start really brainstorming about future projects. Lol
John: Do you have any advice for young and aspiring photographers?
Inti: Shoot what you love. There is not a lot that's easy about being a pro photographer, and the sad reality is that very little time is spent actually shooting, but as long as you're loving it, it's all worth while.
John: Any words you would like to leave us with?
Inti: A friend of mine once told me that people are always wanting things to be easy-fewer problems/less stress. The reality is that it's only by creating, embracing, and working through consistently bigger problems, that we accomplish great things.
Inti: LOL. I'm flattered you think of me in that way…not sure I can agree, but, thanks!
My journey here was a long, winding one: After living in Austria for a year in High School, I got the travel bug, and knew whatever I did, I wanted to travel the world doing it.
Of course photography fits well into that, but to be frank, I was daunted by it. Not sure why exactly… likely the fear of failure. So at that point, as much as I loved photography, I didn't give it much more than a passing thought. I recognized I have a natural ability toward learning languages, so I majored in Foreign Languages in college, hoping it would segue into a career that would help me feed the travel addiction.
Junior year, while living in Chile, I took my first photography class. I loved it, but I was pretty terrible at it-I think some of that had to do with the language barriers, but nonetheless the truth remains…the prof. passed me out of pity. Also during that year, I decided I couldn't think of a career I actually wanted that would involve my language skills, so I decided to use my obsession with food to become a chef.
I dove into it full force-worked my way up to sous-chef in 6 months, and chef within a year, all while going to school full time to finish my degree. I loved cooking professionally, but not as much as I love traveling, and four years into it, after working 196 hours in two weeks, I realized I was never going to have the life I wanted as a chef.
I quit, and, deciding photography really was the best fit, and I'd hate myself if I didn't really give it a fair try, I enrolled in Rocky Mountain School of Photography's Summer Intensive program. Two and a half months of living, breathing photography, and I was HOOKED.
After that (August 2000), I moved to Seattle, started assisting for anyone who would take me. As fate would have it, I was on a job with an architectural photographer, Robert Pisano, at a restaurant where Jonathan & Amy Ross were dining. After they left, and I checked out their work, I demanded he introduce me at the soonest possible moment.
I met them officially at an ASMP event a few weeks later, and knew instantly I wanted to work for them. They were just getting into stock full time transitioning from the commercial world, and hadn't really thought they were ready to hire anyone, so I started out Part Time.
I was their …everything. LOL Studio manager, producer, assistant …you name it. Through that job, I fell in love with the stock photo industry. It truly was the experience/education of a lifetime. Jonathan is an amazing stock photographer-one of the very best. I'm still in awe of his ability to light on the fly like he does, and he can produce more selling images in less time than anyone else I know! I worked for Andersen Ross for 4 years before I went out on my own.
I always knew I would go out on my own---mostly because as much as I love producing, I love shooting more, not to mention the fact that only by being self-employed can I travel as much as I want to.
John: You shoot Lifestyle, Food, Travel, Architecture and more. The conventional wisdom is that success is easier obtained through specialization. What is your view on that?
Inti: Honestly, I hadn't really thought about it. At Andersen Ross we shot Lifestyle, I know that it sells the best, and more than anything, I love shooting people, so that's what I shoot primarily.
The Travel imagery I shoot because I love to travel and to capture the places I visit, but I definitely do it with the knowledge that I want to put it into the commercial stock world.
The Food photography thing started a year and a half ago when I decided to write a cookbook to give away to friends and family at my wedding. Funny, but I never thought I would enjoy it as much as I do (I have never really liked shooting in the studio, and find product photography really boring.)
It's so different from lifestyle-for me it's a form of…relaxation. Obviously, I love to cook, so I usually just cook, drink some wine, take some photos, and then eat! It's an added bonus that I have an outlet to sell those images. I guess in the end, I just specialize in shooting what I am passionate about!
John: Is there one thing you like shooting the most?
Inti: Definitely people- preferably on location. I just got back from shooting on Ohau, Hawaii. 20 shoots, 47 models, 12 days. It was amazing! Next time though I think I'll not produce quite so much so I can actually enjoy paradise a bit more. ;)
John: How much of work is assignment, and how much is stock?
Inti: Last year it was about 2/3 stock, 1/3 assignment. I got some really great assignment jobs last year, especially considering I don't do any advertising for assignment work.
John: Do you have a preference for either assignment or stock?
Inti: I think of myself as a stock photographer, and overall I can say I prefer it. I have definitely really enjoyed some of the assignment jobs I've done, but I love the freedom of producing my own shoots.
John: How is the stock world treating you these days?
Inti: Well, royalties are definitely down. I know I'm not the only one experiencing that. It's a bummer, but ultimately, I still feel like I make a great living doing what I truly love to do, and for that I am really grateful.
John: Who handles your stock, and do you do any direct sales?
Inti: My main agencies are Getty and Blend Images. I'm also with Jupiter, Cultura, Danita Delimont, and Uppercut. I don't do any direct sales. The whole direct sales thing intrigues me, but I can't imagine trying to take that on without having some sort of staff. At this point, I'm a one-woman show, and work way too much as it is!
John: How do you market yourself?
Inti: I don't. Embarrassing, but true. It's on my list of things to do…and has been for a long time. I just get too wrapped up in producing, shooting, and post-production. In all honesty, I've been really fortunate to have some great assignment jobs fall in my lap, and I haven't made marketing a priority. I need/intend to though! LOL
John: What role does the internet and/or your web site play in your business? Do you have any changes in your internet presence planned?
Inti: Good questions! I have a web site-the basic function of which is just to prove legitimacy. By that I mean I street cast all the time, so it serves to show models I am what I say I am, and get them excited to work for me.
I intend, this year, to re-vamp, and really start marketing it/myself, so hopefully it will help me get some more assignment work too. Additionally, I'm on Twitter, Facebook, Linked-in, etc… At this point, all of those things have proven to be a lot of fun, and great for networking with other photographers/like minded people, but I haven't gotten any work as a result (yet ;)).
I toss around the idea of a blog-I regularly read those of some of the photographers I really admire-You, Chase Jarvis, Shalom Ormsby, Vincent Laforet, Strobist… I thoroughly enjoy reading them, and can see that it, as well as other online networking forums, can serve as an amazing marketing tool. I think Chase is an especially exceptional example of someone who uses the web and all it has to offer for that.
For me, I do sometimes feel I'm missing out by not utilizing what's out there in this realm better, but it comes down to time, and I don't have enough of it!
John: Has the economic downturn impacted your business?
Inti: Absolutely. As I mentioned before, royalties are down considerably. This means having to produce a lot more to make the same amount as before.
John: If so, how are you dealing with that?
Inti: Mostly by keeping my costs as low as I can. I don't have any staff. I rarely hire assistants. I really do every part of my business, from producing all my own shoots, to editing, to post production on images.
John: When shooting stock, from where do you get your ideas and inspiration?
Inti: Everywhere! Sometimes it's based on a great location, or model. Sometimes I see a hole in an agency's collection, or get the idea from a creative research brief. Sometimes I see a movie or other photographs, and want to try and capture a similar feel in regards to lighting or emotion…Inspiration is all around-you just have to pay attention to it.
John: Do you have a typical way of approaching a shoot?
Inti: Hmmm. That's something I have been thinking about a lot lately. I feel like I usually try to get as much done in as little time as possible. Sometimes, that's a great approach, but I think I would benefit from slowing down, focusing more, and really crafting images as I envision them.
John: Does that differ for assignment and stock?
Inti: Well, with assignment, I'm usually working on other people's schedules, and often other people's visions, so in that case, they're a lot more in charge of how things flow. I just try and create the best images I can to fulfill their expectations.
John: What is the biggest challenge for you in shooting stock?
Inti: I guess I have to say it's keeping up with the post-production. I am in awe of what can be done in Photoshop-especially when I look at the work photographers like you and Colin Anderson do.
I'm constantly seeking to improve my skills, and though I get a lot of satisfaction out of working on images, I get tired of sitting in front of the computer for days on end. I'm a very social person, and can only do it for so long before I start itching to be out there shooting and interacting with people again.
As a result, I shoot a lot, and I always seem to have a mountain of post-production work waiting for me. I do get help here and there, but I always go over every image after they're done, and work on them some more. Maybe I am just a control freak, and need to get over it….lol
John: How about with assignments?
Inti: When I'm shooting stock, I know when I've gotten what I want. When shooting assignment, it's not always clear. More often than not, it's a communication issue. It can be a real challenge trying to capture someone else's vision-especially whey that can't communicate to you well what that vision is.
John: What do you consider your "big break" (or the closest thing to one)?
Inti: Without question the job with Andersen Ross. I was able to get down and dirty, and learn the industry from top to bottom from one of the best.
John: Did/do you have a mentor?
Inti: Jonathan at Andersen Ross. I haven't worked there for 3+ years, but we still keep in touch, and I'm consistently in awe of what he does and how much he produces.
John: Which, if any, photographers have had an important influence in your career?
Inti: Beyond Jonathan, I would say I have a huge list of photographers who inspire me (it's growing constantly), how influential they are is not really something I've thought about, but I'm sure they are.
I am definitely inspired by the photographers who started Blend. In the stock side of things find Colin Anderson, Stewart Cohen, and your imagery especially compelling-I admire how you're constantly putting unique imagery into the stock market.
A few non stock photographers whose work I love (off the top of my head): Sebastiao Salgado, Peter Lindbergh, Andreas Bitesnich, Lara Jade…
John: What keeps you going?
Inti: Passion. I also enjoy the challenge of being a photographer. I'm someone who can get easily bored, but this industry is constantly changing-there's always new stuff to learn, new gear to try, and room to improve-I don't for see boredom ever becoming an issue.
John: Where would you like to be (in a photography sense) five years from now?
Inti: Hopefully doing more creative work in both stills and motion, for stock and assignment, loving it as much as I do now. (and still be able to pay all my bills, and travel the world doing it!)
John: Our industry is going through constant change at an astounding pace. Do you have any predictions about where things are headed?
Inti: In regards to stock, it's becoming harder and harder to be just a stock photographer-there is so much competition, the market is flooded with imagery, and since pretty much anyone can get a microstock contract, it's only going to get worse.
When you also take into consideration the rapid advancement of digital technology (not to mention the lower cost of said technology; 2 years ago to get a decent camera you had to drop $8K now you can get something even better for under $3K), it's blatantly clear that the phenomenon is only going to intensify.
I think, in order to survive, the pros are going to have to diversify. By that I mean, a mix of stock and assignment, by shooting stills, and getting involved in motion. I definitely think motion imagery is going to continue to play an increasingly large role in the photo world…
John: Do you have any plans to get into motion?
Inti: Yes. In what capacity, I'm not sure. By that I mean to say I don't know if it will be as a director, camera operator, or what. In my limited experience thus far, I have come to realize that unlike still photography, it's not something I can do on my own.
I have a contract with Getty for motion, so I'm going to start playing with motion, and see where it takes me.
John: Any special projects you are working on or considering?
Inti: Nothing specific at the moment. Need to plow through the mountain of post production I'm buried under before I start really brainstorming about future projects. Lol
John: Do you have any advice for young and aspiring photographers?
Inti: Shoot what you love. There is not a lot that's easy about being a pro photographer, and the sad reality is that very little time is spent actually shooting, but as long as you're loving it, it's all worth while.
John: Any words you would like to leave us with?
Inti: A friend of mine once told me that people are always wanting things to be easy-fewer problems/less stress. The reality is that it's only by creating, embracing, and working through consistently bigger problems, that we accomplish great things.
Choosing an Lewes Wedding Photographer
Marriage planning can be a worry, and choosing a Lewes wedding photographer is frequently one of the most nerve-wrangling parts. And yet, given the close vicinity to London and the other home counties, there are thousands of different wedding photographers to choose between, even outside of East Sussex. The problem is not a shortage of photographers, it's the way to make the choice and select the one you need to hire.
There are some pieces of planning an Lewes wedding that may be a lot less complicated ( though, as we all know, even the smallest details can be a headache when people don't see eye to eye.) for example, you are spoilt for wedding venues in Sussex - there are mansions and manor houses ( like Barnsgate Estate ), hostels and spas, and plenty of other less conventional locations. As you know what type of places you like, it's easy to make the decision about a venue ( even though it can be difficult to come to an accord often.
The first thing you must understand is why there is a problem at all. I've already stated that there are thousands of photographers to choose from - the home counties and London are so close that all but the most exclusive photographers are only too willing to travel a little to shoot your wedding.
The problem is that there is too much choice! The explanation why this makes it intense is because most people do not have a particularly clear idea of the way to choose between wedding photographers. So if there were only two photographers that you could choose, it might be quite easy to make the choice. But if there are thousands, it can be a genuine nightmare!
So how can you tell how good a photographer is simply by talking to him on the phone? It's not likely, which explains why the general public make decisions because they think the photographer has nice voice or "sounds reliable."
The truth is that few of us know much about photography. We do know that when we take photos, they don't turn out exactly how we imagined they'd. There is a definite art to taking a great photo, and for many of us, it's an unknown art.
While it can be alluring whilst you're looking thru the Yellow Pages to just go for the pretty ad rather than calling heaps of calling lots of different photographers, you can set yourself up for a large amount of discontent this way if you don't know what to look for in a professional photographer.
First of all, you would like to ensure that an Lewes photographer is professional. Anybody with a camera can call themselves a photographer - a professional is someone with qualifications, talent and experience. Also, it is someone that is reliable and trustworthy.
In addition, I should mention that folks abilities are very important for a wedding photographer. You need someone that will hear what you need and work with you to make it happen the way you would like, not someone who makes an attempt to make you fit to their "one size fits all" mentality. That isn't not to point out they'll be a complete doormat either - a professional knows his business inside out and will tell you if something will work or not, and will have strong ideas about how to tackle the job.
Next, you need to be sure that the person you are hiring has a style that suits your taste. Most professional wedding photographers are flexible to evolve to your wants, but all of them do have their individual strengths and strengths. You can get a good idea of whether you'll enjoy working with them by asking to see examples of their prior work.
If you do like what you see, and you get on well with the photographer, then you must consider the price. Too frequently, price is the first thing that people think of. There are 2 different mistakes folks make about price. One is penny pinching - if you are only prepared to pay the lowest possible price for your Lewes wedding photographer, you can likely not get the best quality photographs (they'll probably be awful).
The second mistake is the opposite, "throwing money at the problem." This is when you just decide to pay a high price and do not put any real high price and want - a sure way to be disappointed for years to come.
The price should be within your budget. The very best (celebrity) photographers cost the Earth - but very good ones are available for a much more reasonable price.
I hope that this advice has useful. You should check out Charlies Picture Show - this site belongs to a wedding this recommendation has done some work for my family in the past. He is a great photographer, and I'm sure you'll love his style!.
There are some pieces of planning an Lewes wedding that may be a lot less complicated ( though, as we all know, even the smallest details can be a headache when people don't see eye to eye.) for example, you are spoilt for wedding venues in Sussex - there are mansions and manor houses ( like Barnsgate Estate ), hostels and spas, and plenty of other less conventional locations. As you know what type of places you like, it's easy to make the decision about a venue ( even though it can be difficult to come to an accord often.
The first thing you must understand is why there is a problem at all. I've already stated that there are thousands of photographers to choose from - the home counties and London are so close that all but the most exclusive photographers are only too willing to travel a little to shoot your wedding.
The problem is that there is too much choice! The explanation why this makes it intense is because most people do not have a particularly clear idea of the way to choose between wedding photographers. So if there were only two photographers that you could choose, it might be quite easy to make the choice. But if there are thousands, it can be a genuine nightmare!
So how can you tell how good a photographer is simply by talking to him on the phone? It's not likely, which explains why the general public make decisions because they think the photographer has nice voice or "sounds reliable."
The truth is that few of us know much about photography. We do know that when we take photos, they don't turn out exactly how we imagined they'd. There is a definite art to taking a great photo, and for many of us, it's an unknown art.
While it can be alluring whilst you're looking thru the Yellow Pages to just go for the pretty ad rather than calling heaps of calling lots of different photographers, you can set yourself up for a large amount of discontent this way if you don't know what to look for in a professional photographer.
First of all, you would like to ensure that an Lewes photographer is professional. Anybody with a camera can call themselves a photographer - a professional is someone with qualifications, talent and experience. Also, it is someone that is reliable and trustworthy.
In addition, I should mention that folks abilities are very important for a wedding photographer. You need someone that will hear what you need and work with you to make it happen the way you would like, not someone who makes an attempt to make you fit to their "one size fits all" mentality. That isn't not to point out they'll be a complete doormat either - a professional knows his business inside out and will tell you if something will work or not, and will have strong ideas about how to tackle the job.
Next, you need to be sure that the person you are hiring has a style that suits your taste. Most professional wedding photographers are flexible to evolve to your wants, but all of them do have their individual strengths and strengths. You can get a good idea of whether you'll enjoy working with them by asking to see examples of their prior work.
If you do like what you see, and you get on well with the photographer, then you must consider the price. Too frequently, price is the first thing that people think of. There are 2 different mistakes folks make about price. One is penny pinching - if you are only prepared to pay the lowest possible price for your Lewes wedding photographer, you can likely not get the best quality photographs (they'll probably be awful).
The second mistake is the opposite, "throwing money at the problem." This is when you just decide to pay a high price and do not put any real high price and want - a sure way to be disappointed for years to come.
The price should be within your budget. The very best (celebrity) photographers cost the Earth - but very good ones are available for a much more reasonable price.
I hope that this advice has useful. You should check out Charlies Picture Show - this site belongs to a wedding this recommendation has done some work for my family in the past. He is a great photographer, and I'm sure you'll love his style!.
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