of photography The books present pictures by outstanding photographers ot today and the past, relate the history of photography and providepractical instruction in the use of equipment and the rock seems in this portrait an objectthat. See more ideas about Digital Photography, Photography books and Pdf. Secrets from the World 's Top Digital Photography Professionals Photography Books. Digital cameras employ an electronic sensor consisting of a large number of square cells or “pixels”. Photons hitting a cell create an electrical charge.
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PDF Drive is your search engine for PDF files. Posing for Portrait Photography The Portrait Landscapes Photography Book and Landscapes Photography. Go ahead, download all of these 23 photography e-Books and PDFs will provide you with tips from photographers and industry professionals. Explore Flickr is the ultimate guide to using Flickr as a new photographer. The book is loaded with photographs, information, and tips from Flickr.
All photographs by the author unless otherwise noted. All rights reserved. Published by: Amherst Media, Inc. Box Buffalo, N. Loder, Carey Maines, and Sally Jarzab. The author and publisher will not be held liable for the use or misuse of the information in this book. Contents Preface.
I downloaded and used a few of these over time. I have just made my ebook called 20 Photos from the East Side Gallery available for free from http: Your email address will not be published. FilterGrade is a marketplace with digital products for creative people. High Quality Photography Filters. My Account. Share this post Facebook Twitter Google Pinterest. Free Curves Presets for Photoshop. Places to Market Your Photography Business. Leave a Reply Cancel reply Your email address will not be published.
Search the Blog. Don't miss an update! Join our newsletter to get exclusive freebies and new content right to your inbox. Trending Now. March 21, Marketplace Sell on FilterGrade. The resulting photographs were packaged as albums and sold to collectors. The ability to duplicate, reprint, and resell or relicense images continues to be the secret to profitability today. Though books and magazines were being produced in the time period, no one had mastered the technologies of half-tone printing that would enable the large-scale reproduction of photographs within them.
The invention that led to the widespread growth of the photographic industry was the flexible film created by the Eastman Kodak company. Until their introduction of dried silver gelatin film, delivered on an acetate base in the s , films consisted of glass plates of various sizes that had to be wet-coated in the dark right before they were exposed in the camera. It required incredible patience and technical ability.
It also required a horse-drawn wagon, as the glass plates were very heavy and delicate. The introduction of packaged film meant that, for the first time, photographers could go out without chemistry sets and sheets of glass and make images that could be developed hours or days later.
This is the point at which photography, both as a hobby and a profession, began to take off. This led to a great demand for news, advertising, and Preface 7 Top—Late nineteenth-century paper print made by contact printing. Bottom—Late ninetenth-century paper print portrait. For the first time in history a photograph could be disseminated rapidly to millions of readers.
Even with the advent of better films and equipment, photography required a fair amount of technical skill and know-how right up through the s.
A well-rounded photographer working as a generalist in a major regional market might shoot a wide assortment of assignments during a typical week, including lots of portraits for families and for business use, prod- 8 Commercial Photography Handbook ucts and buildings for businesses, and images for use in ads. Before , only national ads and editorial work were typically published in color.
Commercial photographers at the time did not charge a day rate for advertising photography; rather, they charged a fee to produce the photographs and a usage fee that represented the value of the use for that image. In the major markets it was typical for advertising photographers to charge a percentage of the total ad placement budget for their work.
As the ad placement budgets grew so too did their fees! Editorial photographers charged for their work in a different way. This was a guarantee against a space rate. They were paid a certain amount for each photograph used in the final story, and these rates were based on the size of the image in the final magazine layout. In this way the photographers whose talent shone brightest were rewarded in direct proportion to their skills.
If a story was killed, they were still paid their day rate—their guarantee. From the s till the dawn of digital photography, commercial and editorial photographers worked consistently and profitably because, even though films got better and better, development more consistent, and testing methods more foolproof, photography still required a broad range of technical skills and large investments in cameras and lighting equipment. These were sufficient barriers to entry to ensure that the middle and higher levels of the market were protected from the encroachment of casual hobbyists and rank amateurs.
As corporations grew dramatically, so did their global reach and their budgets. During the last thirty years of the twentieth century, the American economy was largely strong, robust, and growing, and commercial photography went along for the ride. During this time, the tools became more refined, and reproduction in major glossy magazines was much improved. By the middle of the s, most pros were shooting with medium format cameras and banks of very consistent and well-engineered studio electronic flash equipment in order to take full advantage of the improvements in the media.
Most worked in their own studios. Even though there were ups and downs in the economy, the overall market for most commercial photographers was positive.
Then the paradigm shifted. The advent of readily available digital cameras and low-cost computers seemed to change the whole market. The apparent quality of digital files and the ease of their production almost immediately decimated the bottom end of the commercial markets starting in as businesses realized that a lot of their advertising and communications materials and messages were moving to the Internet.
The files needed for good reproduction at small sizes on the Web could be of much lower quality than the images required for high quality, four-color press printing. Now a business could produce its own photographs, inexpensively, inhouse. Basic ID head shots, photographs of houses for sale, simple product shots, and more moved from a practice that nurtured entry-level photographers to extinction.
Prior to the digital revolution, stock agencies held and maintained huge physical libraries of color slides and larger transparency films. Requests for images would come from clients who would pay for both the research to find the right picture and the FedEx charges for shipping the images. Fees were based on usage and could range from hundreds of dollars to tens of thousands of dollars for a single use. Now the clients could do their own online searches for images, retrieve the images as a web download, and pay the very low fees with a credit card at the end of the transaction.
Not only has this change roiled the waters for commercial photographers, but the very agencies that engineered the original web-based stock photography market, Corbis and Getty Images, are quickly being eaten by their own offspring. Top—The Canon G2 was one of the early digital cameras that created files which competed with 35mm film. Preface 9 With the supporting foundations of entry-level photography decimated, and with clients moving their marketing predominately to the Web, many are wondering whether photography as a profession will disappear entirely to be replaced by an amalgam of part-time practitioners, cheap stock, and homemade content.
So, what does the market look like today? The dollar is at an all-time low. The bank industry is on the brink of failure. At this writing, inflation is at its worst in twenty-nine years. The shortterm prognosis from the federal government is grim.
And amateur photographers are crowding into the market and begging to work for free! So, what does a commercial photographer do when confronted with all this bad news? Hopefully you will do the same. Because, going forward, there are no guarantees. Because in the real estate market the people who make money reliably are the ones who build or download good rental properties and lease out the use of these rental properties, year after year—always at a profit.
If you sell the house, you make a one-time profit. If you lease the house, you make a profit year after year, and at the end of your career you have a portfolio full of appreciating properties assets. Photographers can and should apply the same model to their businesses. They should get paid to create an image which the photographer owns and then license that image for additional fees for specific uses and specific lengths of time. Any additional uses or extensions of time should be paid for just like the rental of a house.
Before you roll your eyes and assume that clients will demand ownership of all the images and all the rights, be aware that the above description is just the way the bulk of the advertising photography market has worked for decades and decades.
If you need analogies and examples from other industries you need look no further than a good ole American business called Microsoft. This image was shot in and has been sold many times since.
If I had signed away all rights I would have gotten a one-time fee that would have been a fraction of its real value! Shot on 4x5 inch color transparency film.
You have been licensed the right to use the software on your personal machine only. It is illegal to share it or even load it on another machine concurrently unless you download additional licenses.
This is the model that most truly successful photographers have adapted. They license specific rights while keeping the copyright. Their images are their intellectual property.
You are wrong. Pricing for the short term will be hazardous to your long-term business health. You deserve a decent house, a reliable car, health insurance, vacations, and all the other things that make life comfortable.
The goal is not to make some money from selling your photography but to make lots of money licensing your images again and again. Every client has a potential use for your images. Understand what the inclusion of your photo into a project brings to the table. Preface 1. Many in the creative industries routinely couch the relationship between clients and themselves as an ad- versarial one. They describe their negotiations as heated battles where each side attempts to conquer the other. Some photographers even seem convinced that clients are out to squelch their creative output and force photographers to create staid and boring work instead.
So, what does this adversarial point of view download you? Generally ulcers, migraines, early death, and little else. I hate to be the one to tell you this, but clients are the most important single thing in your whole business.
Your customers are more important than the latest cameras and lenses and much more important than that brewing debate about lighting styles on your favorite blog. They are even more important than the overall economy. They are your sole financial resource. They make everything you eventually do in your business possible.
Knowledge is profit. Here are the four most important things I do to build my relationship with clients: 1. Understand their industry and their position within that industry.
Build my relationship with the person I collaborate with. This can be as simple as sending interesting articles about intersections between our industries articles in Photo District News or Advertising Age , clipping newspaper comics that are relevant to their industries, or pointing them to interesting webcasts. It can escalate to monthly lunches where you meet and discuss big issues, present fun new work, and generally get to know your client as an individual.
Anthropological research has shown time and time again that sharing food creates bonds between humans. This can be especially important with clients who are constrained by their companies to solicit competitive bids. In a surprising number of cases you will build genuine friendships that will last over the long course of your career.
Go into every negotiation looking for ways to sell your vision or style without alienating those you should be collaborating with. If you feel you are always right or that you always have the best solution for every project, you need to take a few moments to consider that you may be wrong! In the past, I would have vehemently argued my position in many instances. I have since learned to listen first for all the details. I have a little note attached to my computer.
It has helped me retain many clients over the years and has helped me to generate more profits. The most important single thing you need to get across to your clients is that you bring a unique vision and a unique set of attributes to your projects. If you compete just on price and you offer the same styles and types of images as everyone else, your potential clients will be inclined to look at all photographers as commodities.
When a product or service becomes a commodity an interchangeable product like wheat or machine screws the clients immediately reduce the parameters of their selection process to price. You must have powerful differentiators that add value to your photography for clients. Only then will you succeed financially. You might even make some nice friends.
Shot for a story on BBQ that ran in Tribeza magazine. Editorial photography provides the opportunity to try new creative approaches. This was done with two offcamera, battery-powered flashes. Selling Images or Licensing Usage Rights? Take the example of the wedding photographer. His choices are much like the difference between an all-you-can-eat buffet restaurant and a fine dining establishment. In the first restaurant your customers pay a fixed price at the door and then pile their plates high.
Every return through the buffet line is money down the drain for you. When you consider that most allyou-can-eat restaurants exist near the bottom of the restaurant food chain and that their profit margins are painfully thin, you can see that this pricing model can be quite precarious.
Each product is priced separately. Each product comes with its own profit margin. At each point in the dinner experience the fine dining restaurant has the potential to increase sales and generate profit. The fine dining restaurant has to consistently make a much more compelling creative product, and it has to communicate the extra value of the creative product to the correct target market of consumers.
The easiest way to stay in business? Attract highly affluent clients who crave a unique and creative approach to the product or service in question and allow them to add more and more products to create more and more profit. It is exactly the same in photography. The top of the list for products is design, followed by features. Design and features are the reasons people paid a premium for products such as iPhones and iPods from Apple.
Style and reputation are the reasons people flock to wedding photographers like Denis Reggie and Hanson Fong. Consumers want, and are willing to pay for, the styles they like. Once you market based on just about anything else, like price, you become a commodity. When you become a commodity the con- Below—This image series was used in print ads and mailers for a high-end lakefront condominium project.
The creative director and I scouted the project beforehand and planned each shot in detail. Developers depend on great photography to help sell multimillion-dollar properties. Getting good food shots during regular dinner service requires making quick decisions as well as an ability to previsualize the effects of your lighting.
The successful wedding photographer charges a fee for the creation of his images and extra fees for the various uses of his images. An album filled with photographs commands a certain price.
Prints command an additional price. The same images can be sold over and over again to guests and families online via Pictage, Photo Reflect, or Smugmug. Over time the passive income from additional products usages can be like the passive income of stock dividends, with fat checks arriving regularly. I often meet for coffee with a professional portrait photographer.
His sitting fees are around the average for our market in Austin, but his print prices which 16 Commercial Photography Handbook reflect his Photoshop skills and his skilled use of very high resolution cameras, as well as his social connections and location are quite a bit higher. His average sitting lasts an hour or two. At the other end of the spectrum is a local photographer who sells his work by taking images with his modest digital camera and then putting JPEGs on a disc.
He wants to give the images to the client and never see that pesky client again. What a difference.
In the advertising business there is a great deal of pressure to sign work-for-hire agreements, which give a client all the photographs you create and an unrestricted right to use them wherever he or she wants, with no additional payment to you. The client would even have the right to sell the images as stock to anyone in the market. If you need a hand with where to start, check out this free ebook. Ian kindly shared his photography gear and favourite wildlife and landscape work on Shotkit recently and I urge you to check out his free photography ebook.
Going Candid — by Thomas Leuthard. The first ebook of Thomas Leuthard where he describes the basics of Street Photography based on his own experiences pounding the pavement. The Heart of Portraiture: Eric is a wealth of knowledge on the topic of street photography.
His fearless attitude when it comes to getting the shot is explained in this free photography ebook.
Never fear pressing the shutter on the street again! Essential reading for your next safari trip to Africa, or simply when you feel like taking a walk on the wild side, camera in hand! Another interesting free read by Scott Bourne, this time on how he maintains creativity in his work. This free ebook does a good job in breaking down the steps necessary to make that jump. Whether you want to become a professional food photographer or just want some tips to make your Instagram updates look their best, this free ebook will help.
Another free ebook from this UK magazine which discusses the merits of shooting black and white photos in a predominantly colour age. Why anyone would want to give this mammoth page ebook away for free is beyond me, but definitely one to dig into when you want to explore some of the ins and outs of digital photography.
A bit of a broad ranging free photography ebook this one, but still, some useful advice especially for the beginner photographer or those just using cheaper cameras and mobile phones.
Going Candid by Thomas Leuthard. Collecting Souls by Thomas Leuthard. Who could resist a photography ebook with such a beautiful title?! Street Photography for the Purist — by Chris Weeks. A collection of raw and gritty black and white photos, including commentary on technique by this street photographer. Understanding Light — by Nigel Hicks.