Stock Photography agencies can be something of an enigma to beginning photographers. Unless you understand how they work, and what they expect from photographers, it can be difficult to begin selling your work through agencies. This article aims to give an overview of the stock photography business for those new to the industry.
What is a Stock Photography Agency?
Stock photography agencies are essentially a big library where buyers can search for a specific image they need to illustrate something, be it a magazine article or commercial advertisement. Buyers license the image and pay a fee to use it. The amount of the fee depends on the publication, size of the reprint, circulation and length of use. If your image is chosen, you receive a commission.
How do I start?
To begin selling your images through an agency, first they will have to accept you. This will usually entail submitting a selection of your images for assessment. If the agency likes what they see, they might offer you a contract.
From there on it’s a matter of submitting images regularly. Agencies need to keep their collections up to date to be competitive, and so expect regular contributions from their photographers.
One thing to remember is that, all things being equal, stock photography is a numbers game. The more images you have out there in the big wide world, the more chance you stand of making sales. Look at stock photography as a long term proposition. It can take a long time to build your collection and begin to make some sales. The good news though, is that everything you do is accumulative. And eventually, if you’ve put in the hard work, your stock collection could become a passive income, like having a share portfolio.
What do agencies expect?
All stock agencies expect images to be technically perfect. This means no dust or scratches, color casts and pin sharp. They can’t sell a sub standard image to a buyer and so won’t accept them into their library. Agencies also have differing requirements as to image size and file type that they will accept. It is important to read the requirements for image submissions carefully before sending in your own.
Agencies also differ in the amount of images they require from you. Some will state you need to submit a certain number each year, others will have no minimum requirement. All this will be written into your contract, which you should read carefully before signing to ensure this is the right agency for you. In particular, find out if the agency requires exclusivity (ie. You are unable to submit to any other agency) or image exclusivity (you are unable to submit the same image to any other agency). Also, find out what you need to do if you want to cancel your contract. What is the notice period you need to give? What happens to your images after your contract is cancelled? The last thing you want is to have your images tied up somewhere that isn’t working for you without anything you can do about it.
So how do I choose an agency?
You may have noticed that I haven’t mentioned any agency names here. This is deliberate. There are hundreds of agencies all over the world to choose from and all of them are suited to different photographers. You may want the prestige of being with a big name agency but find that you have very little control over your images and how and where they are seen.
On the other hand, a smaller agency with fewer contributors may offer a better chance of your photos being seen and thus purchased. They might also offer higher commissions to photographers as they try to build their library and gain more market share.
It is important to look at an agency carefully before joining. Do your images fit the material they offer? Do they expect more than you can provide? Do they pay a suitable commission? What is their customer service like? If you ask a question, are they able to give you a useful answer?
Selling stock photography is a long hard road. It is competitive and takes a long time to see results. However if you stick at it and choose the right business partners, it can be very rewarding.
Friday, February 11, 2011
Art Photography
The Saatchi Gallery’s artistic versatility dictates its open attitude toward art, and this attitude is present in its welcoming posture toward the work of photographers around the world. The gallery opens its doors to photographers who have been widely unrecognised in their circles and provides a source of promotion and exposure to these young, talented persons. This offer is inclusive of photo artists from countries all around the world. At Saatchi Online, artistic photographers are encouraged to upload their photographs and place them on display for the millions of potential art enthusiasts on the internet. Images must be uploaded as jpg files and the sizes of these files should be below 2MB. This opportunity given free of charge by Saatchi not only allows these photographers to increase their standing as renowned artists, but it also allows them to enter into the professional artistic realm by making (or arranging for) commission-free online sales.
Photographers are also free to create their own profile package online. Therefore, not only do viewers and potential buyers get the chance to review a wide range of their works (as many as eight pieces are accepted), but they are also able to offer the public significant information about themselves and their art. In addition to the services mentioned, Saatchi also allows the photographers to get messages from those interested in their art—such as viewers, fellow photographers, and even potential buyers. Therefore, this improves the artists’ ability to network in this scene where fellow artists, a potential source of inspiration, may be difficult to find. The Saatchi service to photographers may therefore be considered an ultimate method of artist promotion.
Photographers are also free to create their own profile package online. Therefore, not only do viewers and potential buyers get the chance to review a wide range of their works (as many as eight pieces are accepted), but they are also able to offer the public significant information about themselves and their art. In addition to the services mentioned, Saatchi also allows the photographers to get messages from those interested in their art—such as viewers, fellow photographers, and even potential buyers. Therefore, this improves the artists’ ability to network in this scene where fellow artists, a potential source of inspiration, may be difficult to find. The Saatchi service to photographers may therefore be considered an ultimate method of artist promotion.
Buying A Camera
One thing that puzzles most of us when buying a camera is which one to choose. There are hundreds of cameras on the market today, most of which are made by manufacturers with very good track records. All cameras will work well in most circumstances but we need to look at the finer details to get the best value for our money.
When I buy a camera the first thing I look at is the strength of the outer shell. The shell needs to be strong if you are out and about each day. Normally the weight of the camera will give you a good indication of the durability and strength.
There are many manufacturers to choose from, but if you are buying an SLR in digital or film format, Nikon or Canon are the main players. If you enjoy photography purely as a hobby and are planning to buy a digital compact camera, there are hundreds to choose from.
I normally stick to the main manufacturers, but before I buy, I read photo magazines. Most photo magazines carry featured articles about the latest equipment on sale and they are constantly testing them to give their readers accurate feedback. This may spare you a lot of money and help you decide which camera to buy and which one will best suit your needs.
If you are buying a compact camera I would definitely recommend checking out these magazines. There are so many to choose from and the prices can vary a lot. If you do decide to buy a compact pick one that accepts removable memory cards, other wise you may run out of memory taking holiday or family snaps. Also pick one that will offer you a reasonable size print. A 2-megapixel camera will allow you to print a good quality 10 x 8 inch print. Also make sure that the cameras software is suitable for your computer.
If you are buying an SLR digital or film camera you are moving more closely toward the professional end of the market where prices can be quite high. Most SLR will allow you to capture images that can be enlarged to a good size. You will also be able to use interchangeable lenses on most SLR and add a strobe unit where extra light is needed for accurate exposure.
For any photographer who works in a specialized area there are also specific cameras available. Photography manufacturers produce a range of cameras for professionals in digital or film format. Where large images are needed manufacturers sell large format cameras. These are ideal for landscape or advertising photography. There are also portrait digital cameras available for professionals.
Buying an expensive camera will not make your images better. Regardless of your equipment you should be able to take good images with any standard compact camera if you apply good photography techniques. A good camera will enable you to be more creative with manual settings and will give you a higher resolution image but your creative eye will still work the same.
When I buy a camera the first thing I look at is the strength of the outer shell. The shell needs to be strong if you are out and about each day. Normally the weight of the camera will give you a good indication of the durability and strength.
There are many manufacturers to choose from, but if you are buying an SLR in digital or film format, Nikon or Canon are the main players. If you enjoy photography purely as a hobby and are planning to buy a digital compact camera, there are hundreds to choose from.
I normally stick to the main manufacturers, but before I buy, I read photo magazines. Most photo magazines carry featured articles about the latest equipment on sale and they are constantly testing them to give their readers accurate feedback. This may spare you a lot of money and help you decide which camera to buy and which one will best suit your needs.
If you are buying a compact camera I would definitely recommend checking out these magazines. There are so many to choose from and the prices can vary a lot. If you do decide to buy a compact pick one that accepts removable memory cards, other wise you may run out of memory taking holiday or family snaps. Also pick one that will offer you a reasonable size print. A 2-megapixel camera will allow you to print a good quality 10 x 8 inch print. Also make sure that the cameras software is suitable for your computer.
If you are buying an SLR digital or film camera you are moving more closely toward the professional end of the market where prices can be quite high. Most SLR will allow you to capture images that can be enlarged to a good size. You will also be able to use interchangeable lenses on most SLR and add a strobe unit where extra light is needed for accurate exposure.
For any photographer who works in a specialized area there are also specific cameras available. Photography manufacturers produce a range of cameras for professionals in digital or film format. Where large images are needed manufacturers sell large format cameras. These are ideal for landscape or advertising photography. There are also portrait digital cameras available for professionals.
Buying an expensive camera will not make your images better. Regardless of your equipment you should be able to take good images with any standard compact camera if you apply good photography techniques. A good camera will enable you to be more creative with manual settings and will give you a higher resolution image but your creative eye will still work the same.
Digital Photographer – Or Digital Dummy?
Digital technology has taken over the photography world. The benefits are enormous, and advances in cameras and software have quickly overcome the weaknesses of early digital photography. But are modern photographers living up to the potential of their new digital cameras?
As the owner of a gallery, I have many conversations with digital photographers, and I am beginning to see problems, not with digital photography, but with the mindset it seems to have created. And I fear that photography as an art form may be the poorer for it.
One of the benefits that make digital cameras so attractive is the ability to see your results immediately, and delete a photo if you are not happy with it, at zero cost. Gone are the days of waiting until you finish a roll of film, then facing the expense of developing and printing before you get to see your results. With digital photography, you can take a shot without fear: if it doesn’t work, just delete it and try again.
Therein lies my biggest worry about digital photography. The ease with which a photographer can erase a mistake has taken away the need to think about what they are doing. Let’s face it, if you take enough shots of the same subject, eventually you will get it right accidentally.
When film was king, the delay in seeing your results, and the expense connected to each exposure, made it important to get it right, or at least try to do so. When a photographer had to wait until days later to view their results, the opportunity to try again had usually passed. Consequently, it was essential to really learn how to use your camera, and to put creative thought into every exposure.
Of course there was no such thing as a 100% success rate, and plenty of film was wasted, but with concentration and self-discipline, a good film photographer had a right to expect more hits than misses from each roll of film.
These days it is common for someone to want to show me their great new photo, but have to search through the other 50 failed attempts on the memory card to find it. In these cases, the question needs to be asked: was the digital photographer‘s eventual success due to good photography or good luck? Moreover, had they learned anything in the process? Presented with the same situation again, would they need to take another 50 photos to get it right the next time?
There are many situations where that approach is simply not good enough. In my field of nature photography, many opportunities last no more than a few seconds. Birds fly away, clouds cover the sun, the colours of a sunset change. Fleeting moments are not rare in photography, in fact for some artists they are what photography is all about.
So how does the random snapper cope in these situations? I suspect in many cases the tendency is to blame the bird for flying away, or blame the digital camera for not doing its job properly. The notion that the photo should be easy for someone who knows what they are doing would not compute. Why? Because the sheer convenience of digital photography, with its automatic features and ease of deletion, does not encourage us to actually learn how to use the camera.
Imaging software is part and parcel of the photography industry; I accept that. In fact, to get a truly high-quality print, even the best digital photographer has to do a little ‘work’ on an image from time to time. But computer wizardry should never replace skill with a camera. Sadly, these days many people are relying on software to fix their mistakes, instead of learning to take better photos.
I look at it this way: time spent fixing up a mistake using software ‘ minutes or hours. Time spent getting it right in the first place ‘ about 1/500 second.
If you have a good digital camera, I urge you switch it to manual and learn how to use it. Not much has changed since the old days. The main things you need to learn are still aperture, shutter speed, light and composition. Practice has never been cheaper, and learning from your mistakes has never been easier. A little patience and self discipline is really all it takes.
Go on ‘ make your camera proud!
As the owner of a gallery, I have many conversations with digital photographers, and I am beginning to see problems, not with digital photography, but with the mindset it seems to have created. And I fear that photography as an art form may be the poorer for it.
One of the benefits that make digital cameras so attractive is the ability to see your results immediately, and delete a photo if you are not happy with it, at zero cost. Gone are the days of waiting until you finish a roll of film, then facing the expense of developing and printing before you get to see your results. With digital photography, you can take a shot without fear: if it doesn’t work, just delete it and try again.
Therein lies my biggest worry about digital photography. The ease with which a photographer can erase a mistake has taken away the need to think about what they are doing. Let’s face it, if you take enough shots of the same subject, eventually you will get it right accidentally.
When film was king, the delay in seeing your results, and the expense connected to each exposure, made it important to get it right, or at least try to do so. When a photographer had to wait until days later to view their results, the opportunity to try again had usually passed. Consequently, it was essential to really learn how to use your camera, and to put creative thought into every exposure.
Of course there was no such thing as a 100% success rate, and plenty of film was wasted, but with concentration and self-discipline, a good film photographer had a right to expect more hits than misses from each roll of film.
These days it is common for someone to want to show me their great new photo, but have to search through the other 50 failed attempts on the memory card to find it. In these cases, the question needs to be asked: was the digital photographer‘s eventual success due to good photography or good luck? Moreover, had they learned anything in the process? Presented with the same situation again, would they need to take another 50 photos to get it right the next time?
There are many situations where that approach is simply not good enough. In my field of nature photography, many opportunities last no more than a few seconds. Birds fly away, clouds cover the sun, the colours of a sunset change. Fleeting moments are not rare in photography, in fact for some artists they are what photography is all about.
So how does the random snapper cope in these situations? I suspect in many cases the tendency is to blame the bird for flying away, or blame the digital camera for not doing its job properly. The notion that the photo should be easy for someone who knows what they are doing would not compute. Why? Because the sheer convenience of digital photography, with its automatic features and ease of deletion, does not encourage us to actually learn how to use the camera.
Imaging software is part and parcel of the photography industry; I accept that. In fact, to get a truly high-quality print, even the best digital photographer has to do a little ‘work’ on an image from time to time. But computer wizardry should never replace skill with a camera. Sadly, these days many people are relying on software to fix their mistakes, instead of learning to take better photos.
I look at it this way: time spent fixing up a mistake using software ‘ minutes or hours. Time spent getting it right in the first place ‘ about 1/500 second.
If you have a good digital camera, I urge you switch it to manual and learn how to use it. Not much has changed since the old days. The main things you need to learn are still aperture, shutter speed, light and composition. Practice has never been cheaper, and learning from your mistakes has never been easier. A little patience and self discipline is really all it takes.
Go on ‘ make your camera proud!
Red Eye
Red eye is a major problem for amateur photographers and occurs when a built-in-flash unit is positioned too close to the camera. This is down to poor design of cheap cameras, but can also happen with the built-in flash units in most SLR cameras.
Red eye is caused by light reflecting back off the retina at the back of the eye.
The chances of red eye happening and destroying an image are high if you are new to photography. One trick that usually works is to ask the subject to look at a bright light seconds before you take your image. The best way to avoid it is by placing your flash off camera and at a 45 degree angle to the subject.
One of the handiest tricks for avoiding red eye is to use the double flash technique. When you are ready to take your shot pre-program your camera to give a double flash. The first flash will make the eyes of whoever you are photographing react by narrowing their pupil size. The second flash is for the images that you are taking. Not all cameras have the pre-program for a double flash facility; but a flash on an old camera will do the same if you time it correctly.
Another technique is to angle the camera so that you are not shooting head-on portraits. This should also help to avoid any unwanted glare from the image. Some photographers use tracing paper to diffuse the light. The tracing paper is placed over the flash window. It is a method that can work, but it would be my least favourite.
While all the above may work well, the best way to avoid red eye in photography is by using a flash off camera or by bouncing the light of a surface that will direct the light back onto the subject.
Camera designers have gone to great efforts to minimize the effect of red eye, and there are many software programs that claim to remove it digitally. For those who are into digital photography and have access to Adobe Photoshop the red eye can be removed in two minutes.
To remove red eye in Photoshop follow these instructions.
1. Select the Red Eye brush tool from the toolbox.
2. Zoom in on the eyes.
3. You may need to click on the Default Colour button and reset the colours. Once done make sure that the Sampling tab is set to First Click.
4. Resize the brush tool to suit the image.
5. Place the brush pointer over the red eye and click.
This method works by changing the colours of pixels in the area affected. If it does not work completely the first time restart the process and set the Tolerance tab to a higher percentage. When the tolerance tab is set correctly all the red eye should be removed.
Red eye is caused by light reflecting back off the retina at the back of the eye.
The chances of red eye happening and destroying an image are high if you are new to photography. One trick that usually works is to ask the subject to look at a bright light seconds before you take your image. The best way to avoid it is by placing your flash off camera and at a 45 degree angle to the subject.
One of the handiest tricks for avoiding red eye is to use the double flash technique. When you are ready to take your shot pre-program your camera to give a double flash. The first flash will make the eyes of whoever you are photographing react by narrowing their pupil size. The second flash is for the images that you are taking. Not all cameras have the pre-program for a double flash facility; but a flash on an old camera will do the same if you time it correctly.
Another technique is to angle the camera so that you are not shooting head-on portraits. This should also help to avoid any unwanted glare from the image. Some photographers use tracing paper to diffuse the light. The tracing paper is placed over the flash window. It is a method that can work, but it would be my least favourite.
While all the above may work well, the best way to avoid red eye in photography is by using a flash off camera or by bouncing the light of a surface that will direct the light back onto the subject.
Camera designers have gone to great efforts to minimize the effect of red eye, and there are many software programs that claim to remove it digitally. For those who are into digital photography and have access to Adobe Photoshop the red eye can be removed in two minutes.
To remove red eye in Photoshop follow these instructions.
1. Select the Red Eye brush tool from the toolbox.
2. Zoom in on the eyes.
3. You may need to click on the Default Colour button and reset the colours. Once done make sure that the Sampling tab is set to First Click.
4. Resize the brush tool to suit the image.
5. Place the brush pointer over the red eye and click.
This method works by changing the colours of pixels in the area affected. If it does not work completely the first time restart the process and set the Tolerance tab to a higher percentage. When the tolerance tab is set correctly all the red eye should be removed.
Quick Photography Basics
Create better pictures with these simple tips and rules of photography basics. Creating that extraordinary picture will become second nature. But remember that every rule has an exception, so if you are wowed by a scene or a subject, don’t be afraid to shoot! Enjoy!
The Pause. Before pressing the button stop to look through the view finder to make sure you cannot improve on the shot. Check to make sure everything is in the shot you want and there is not too much clutter.
remove clutter. When shooting a person make sure that no objects are behind or around the subject’s head. For example look for anything like a lamp that is behind the subject’s head, which will distract from the person.
Point of View. Shooting from different angles not just straight on can create a unique point of view. Stand on a chair, or even lie on your back. Turn the camera 90 degrees and take a vertical shot. This technique works great with any subject.
Steady the Camera. Time lag is necessary between pressing the shutter release and the exposure, because the camera needs a to adjust for pre-shot calibration and balance colors. Use a tripod.
Manual Focus. If you’re going to take a lot of action shots or be shooting through glass override the auto focus. Even if your camera has a buffer, the auto focus may not react fast enough to give you sharp pictures if you shoot too quickly or the light is too low.
White Balance. The default white balance setting for digital cameras is auto, which is fine for most snapshots, but tends to be a bit on the “cool” side.
Outdoor portraits and sunny landscapes require that you change the white balance setting from auto to cloudy. That’s right, cloudy. Why? This adjustment is like putting a mild warming filter on your camera. It increases the reds and yellows resulting in richer, warmer pictures.
The Pause. Before pressing the button stop to look through the view finder to make sure you cannot improve on the shot. Check to make sure everything is in the shot you want and there is not too much clutter.
remove clutter. When shooting a person make sure that no objects are behind or around the subject’s head. For example look for anything like a lamp that is behind the subject’s head, which will distract from the person.
Point of View. Shooting from different angles not just straight on can create a unique point of view. Stand on a chair, or even lie on your back. Turn the camera 90 degrees and take a vertical shot. This technique works great with any subject.
Steady the Camera. Time lag is necessary between pressing the shutter release and the exposure, because the camera needs a to adjust for pre-shot calibration and balance colors. Use a tripod.
Manual Focus. If you’re going to take a lot of action shots or be shooting through glass override the auto focus. Even if your camera has a buffer, the auto focus may not react fast enough to give you sharp pictures if you shoot too quickly or the light is too low.
White Balance. The default white balance setting for digital cameras is auto, which is fine for most snapshots, but tends to be a bit on the “cool” side.
Outdoor portraits and sunny landscapes require that you change the white balance setting from auto to cloudy. That’s right, cloudy. Why? This adjustment is like putting a mild warming filter on your camera. It increases the reds and yellows resulting in richer, warmer pictures.
Photographing Cultures and People
As a travel photographer, one of the most interesting and rewarding subjects to capture is the many different cultures and people the world has to offer. Photographing people also brings its share of challenges. This article looks at some of things to consider when looking capturing a culture in an image.
Do your homework
Before starting out, ask yourself this question. Do I know anything about the people I want to photograph? If the answer is no, or not really, then do some research. A little homework and you can gain some helpful insights into how to approach your subject. For example, some cultures might take offence to having their picture taken, some will expect to be paid, while others will rush you begging for you to take their photo. Having some idea of what to expect gives you an advantage in considering how to approach people. Research can also give you insight into the culture of the people. You may discover a piece of clothing native to that part of the world and look for people wearing that piece of clothing. These small pieces of knowledge can make the images you come away with more authentic and real by being able to gain people’s trust and cooperation.
Model releases
If you intend to sell your images, you may need a model release. This can present some difficulty in language barriers and people being willing to give their permission for their image to be sold. It can be daunting to ask a stranger to sign a piece of paper allowing you to make money from their image. The best advice I can give is make it easy for them. Have your model releases easily accessible and make them easy to read and understand. Be patient and answer any questions they might have. Most importantly, be honest. Don’t hide your reasons for wanting permission. Most times, if people see you are being upfront with them, they are more likely to cooperate. There will however always be times when people will be unwilling to sign a release, or maybe even unable to sign because of illiteracy or language barrier. In these cases simply accept their decision with a smile. Arguing with them will not change their mind.
Be considerate, give something back
It is important to remember that wherever you are, you are a guest in someone else’s country, and to behave accordingly. To take great images of people, you need to get them to let their guard down, to relax and open up to you. You will never achieve this with a grab and run approach. Slow down. Stop and talk to people. Give something back rather than making your photography only an act of taking. This may be as simple as engaging in conversation with someone before asking to take their photo, or you might carry around small gifts to give people. Whatever your approach, you (and for that matter your subjects) will gain so much more from the procedure.
A little sensitivity can go a long way in photographing other cultures. It is a practice that will allow you to come away with more than great images. It will also allow you to gain an education. Which, at the end of the day, could prove much more valuable
Do your homework
Before starting out, ask yourself this question. Do I know anything about the people I want to photograph? If the answer is no, or not really, then do some research. A little homework and you can gain some helpful insights into how to approach your subject. For example, some cultures might take offence to having their picture taken, some will expect to be paid, while others will rush you begging for you to take their photo. Having some idea of what to expect gives you an advantage in considering how to approach people. Research can also give you insight into the culture of the people. You may discover a piece of clothing native to that part of the world and look for people wearing that piece of clothing. These small pieces of knowledge can make the images you come away with more authentic and real by being able to gain people’s trust and cooperation.
Model releases
If you intend to sell your images, you may need a model release. This can present some difficulty in language barriers and people being willing to give their permission for their image to be sold. It can be daunting to ask a stranger to sign a piece of paper allowing you to make money from their image. The best advice I can give is make it easy for them. Have your model releases easily accessible and make them easy to read and understand. Be patient and answer any questions they might have. Most importantly, be honest. Don’t hide your reasons for wanting permission. Most times, if people see you are being upfront with them, they are more likely to cooperate. There will however always be times when people will be unwilling to sign a release, or maybe even unable to sign because of illiteracy or language barrier. In these cases simply accept their decision with a smile. Arguing with them will not change their mind.
Be considerate, give something back
It is important to remember that wherever you are, you are a guest in someone else’s country, and to behave accordingly. To take great images of people, you need to get them to let their guard down, to relax and open up to you. You will never achieve this with a grab and run approach. Slow down. Stop and talk to people. Give something back rather than making your photography only an act of taking. This may be as simple as engaging in conversation with someone before asking to take their photo, or you might carry around small gifts to give people. Whatever your approach, you (and for that matter your subjects) will gain so much more from the procedure.
A little sensitivity can go a long way in photographing other cultures. It is a practice that will allow you to come away with more than great images. It will also allow you to gain an education. Which, at the end of the day, could prove much more valuable
Mistakes New Photographers Make
The biggest mistake that novices make photography is that they always have the subject in the center. You don’t always have to have the subject in the middle. It’s a good idea to test different angle so you comfortable with different shots. You can take pictures with the subject on the left or the right. You could even have them at the top or bottom.
Another thing to remember is that when ever you don’t use the center you can have other issues. What happens is when you do not center some new photographers may not give enough room on the side of the picture that the subject is pointing. Try leaving space when on the side that the person in the picture is facing. If you do not the picture may look wrong or have the feel of being closed in.
You also want to pay attention to the the background of the photo. Make sure the background does not look too cluttered. If you need to, find a different background or shallow depth to make a better photo. Make sure the subject does not blend in with the background. Find a background that is a different color than the subject. If they are both the same is can make the photo look confusing.
Another thing to remember is that when ever you don’t use the center you can have other issues. What happens is when you do not center some new photographers may not give enough room on the side of the picture that the subject is pointing. Try leaving space when on the side that the person in the picture is facing. If you do not the picture may look wrong or have the feel of being closed in.
You also want to pay attention to the the background of the photo. Make sure the background does not look too cluttered. If you need to, find a different background or shallow depth to make a better photo. Make sure the subject does not blend in with the background. Find a background that is a different color than the subject. If they are both the same is can make the photo look confusing.
Top Mistakes by New Photographers
With the new era of digital cameras, photography has become much more common. Almost anyone can afford a camera and most have at least one. Even many cell phones have a digital camera.
While most new cameras are also quite easy to use, there are still many areas in photography where you need to have the knowledge to succeed. These are some of the top mistakes made by new digital photographers. If you are an unpracticed photographer, these are the top mistake to keep an eye for.
Poor Camera
This is by far the most common mistake these days. Many cheap digital models are only good for either landscape or closeup photographs due to their poor focus. Know your camera: what it can do and what are its limitations. A $200 model should never be used for professional photography.
Lighting
Another common mistake is to forget lighting or believe the camera takes care of it all. You will seldom get as good images in dark conditions with a cheap flash than you could in plentiful natural lighting.
Cropping
While it is much easier to see what gets in the photo with today’s LCD displays than with an old-fashioned seeker, there are still plenty of mistakes you can make. One thing to remember is that you can crop the image on your computer. That means you will most likely want to include too much space around than too little.
Zooming
There are so make things that can go wrong with zooming. The number one thing to keep in mind is to always avoid using the digital zoom. It is a feature found in many cheap digital cameras that basically has the same result as cropping the image on your computer. If you need zoom, only use the optical zoom.
Camera Settings
If you are not sure about the settings in your camera, it may be best to use the defaults. If there are several modes, the ‘auto’ mode is usually the easiest to use. You should take care that you use a good format to save the images. Often the high detail mode with the highest resolution should be used, if you are not short on memory.
The bottom line is: if you are serious about photography, you must practice. Digital photography does not differ in that sense.
If you do not learn the skills in advance, you are going to have to learn them the hard way, and that will probably mean making some of these mistakes and more. It can also mean tens or hundreds of lost photos – shots that could have been excellent had you not made a simple mistake.
While most new cameras are also quite easy to use, there are still many areas in photography where you need to have the knowledge to succeed. These are some of the top mistakes made by new digital photographers. If you are an unpracticed photographer, these are the top mistake to keep an eye for.
Poor Camera
This is by far the most common mistake these days. Many cheap digital models are only good for either landscape or closeup photographs due to their poor focus. Know your camera: what it can do and what are its limitations. A $200 model should never be used for professional photography.
Lighting
Another common mistake is to forget lighting or believe the camera takes care of it all. You will seldom get as good images in dark conditions with a cheap flash than you could in plentiful natural lighting.
Cropping
While it is much easier to see what gets in the photo with today’s LCD displays than with an old-fashioned seeker, there are still plenty of mistakes you can make. One thing to remember is that you can crop the image on your computer. That means you will most likely want to include too much space around than too little.
Zooming
There are so make things that can go wrong with zooming. The number one thing to keep in mind is to always avoid using the digital zoom. It is a feature found in many cheap digital cameras that basically has the same result as cropping the image on your computer. If you need zoom, only use the optical zoom.
Camera Settings
If you are not sure about the settings in your camera, it may be best to use the defaults. If there are several modes, the ‘auto’ mode is usually the easiest to use. You should take care that you use a good format to save the images. Often the high detail mode with the highest resolution should be used, if you are not short on memory.
The bottom line is: if you are serious about photography, you must practice. Digital photography does not differ in that sense.
If you do not learn the skills in advance, you are going to have to learn them the hard way, and that will probably mean making some of these mistakes and more. It can also mean tens or hundreds of lost photos – shots that could have been excellent had you not made a simple mistake.
7 Digital Photography Tips For Beginners
Do you want to be an excellent photographer? These 7 digital photography tips you can get started on your way to become an excellent photographer if you’d like.
#1. Learn your cameras settings
Chances are you shoot most of your pictures utilizing your camera’s “automatic” mode. This will get you average results. If you are striving for great shots, you’ll need to learn about other modes too. Take the time to read your camera’s manual to understand when to use each shooting mode.
#2. Take more photos
Before going crazy buying the most expensive equipment right away, you had better take more photos because the more photos you take, the more you’ll know about what kind of camera to get when it’s time to upgrade. In other words, you can always delete the bad ones later.
#3. Busting the dust
Digital camera with removable lenses are prone to dust landing on the sensor. Static electricity around the sensor can possibly contribute to attracting dust particles, or other elements to this sensitive area of your camera. You can get rid of the dust is a camera blower brush, and tilt the camera down while blowing. Take care not to get any of the hairs snagged inside.
#4. Use a tripod
A tripod will keep your camera steady which will make your photos clearer.
#5. Shot your subject at different focal length, angles, and formats
Shoot your subject at different focal lengths – using the zoom on your photos will not only change how close your subject appears but it will also change the depth of field (ie the blurring of the background). It also allows you to shoot from different distances which can really impact how relaxed your subject is (there’s nothing better than a photographer in your face to make you tense up)
Shoot your subject from different angles – it’s amazing how much you can change a shot by getting on your knees or taking a few steps to the side.
Shoot using different formats – there are different ways to grip a digital camera. The two main ones are horizontally or vertically but you can also get into all kinds of diagonal ways to do it. Mix it up.
#6. Experiment with different ‘modes’
Even the most basic point and shoot cameras have different ’shooting modes’. These are usually things like ‘portrait’, ‘landscape’, ’sports’, ‘night’ etc. Sometimes it’s worth flicking through these to take shots at different settings. What these modes do is simply change the basic settings (like aperture, shutter speed, ISO) – all things that can change the look and feel of your shot considerably
#7. Play with your Flash
Try turning your flash off or forcing it to fire in shots. Sometimes adding flash to a scene where there’s lots of light behind your subject is essential (even though your camera might not think it needs it). This stops those silhouette shots where it looks like you’re trying to hide the identity on your subject.
#1. Learn your cameras settings
Chances are you shoot most of your pictures utilizing your camera’s “automatic” mode. This will get you average results. If you are striving for great shots, you’ll need to learn about other modes too. Take the time to read your camera’s manual to understand when to use each shooting mode.
#2. Take more photos
Before going crazy buying the most expensive equipment right away, you had better take more photos because the more photos you take, the more you’ll know about what kind of camera to get when it’s time to upgrade. In other words, you can always delete the bad ones later.
#3. Busting the dust
Digital camera with removable lenses are prone to dust landing on the sensor. Static electricity around the sensor can possibly contribute to attracting dust particles, or other elements to this sensitive area of your camera. You can get rid of the dust is a camera blower brush, and tilt the camera down while blowing. Take care not to get any of the hairs snagged inside.
#4. Use a tripod
A tripod will keep your camera steady which will make your photos clearer.
#5. Shot your subject at different focal length, angles, and formats
Shoot your subject at different focal lengths – using the zoom on your photos will not only change how close your subject appears but it will also change the depth of field (ie the blurring of the background). It also allows you to shoot from different distances which can really impact how relaxed your subject is (there’s nothing better than a photographer in your face to make you tense up)
Shoot your subject from different angles – it’s amazing how much you can change a shot by getting on your knees or taking a few steps to the side.
Shoot using different formats – there are different ways to grip a digital camera. The two main ones are horizontally or vertically but you can also get into all kinds of diagonal ways to do it. Mix it up.
#6. Experiment with different ‘modes’
Even the most basic point and shoot cameras have different ’shooting modes’. These are usually things like ‘portrait’, ‘landscape’, ’sports’, ‘night’ etc. Sometimes it’s worth flicking through these to take shots at different settings. What these modes do is simply change the basic settings (like aperture, shutter speed, ISO) – all things that can change the look and feel of your shot considerably
#7. Play with your Flash
Try turning your flash off or forcing it to fire in shots. Sometimes adding flash to a scene where there’s lots of light behind your subject is essential (even though your camera might not think it needs it). This stops those silhouette shots where it looks like you’re trying to hide the identity on your subject.
How to find good photography frames
How to find good photography frames. Art framing supplies can enhance the beauty inherent in your piece of artwork, whether a painting or a photograph. There are differences in framing paintings and photos, and you will want to choose your framing supplies accordingly.
Paintings can be brought to their full splendor by the use of custom wood picture frames. They can be ornately carved and thick, or they can be delicate and thin. Several different colors of wood are available for framing, to best set off your artwork. Another aspect of framing to consider when using wood frames is the mat board. Mat board comes in a variety of materials, such as thick Bainbridge cellulose fiber mats or mats made out of paper. They also come in a wide variety of colors, so that you can select those that complement or contrast your artwork. The mat can function as an extension of the artwork when such care is taken with its selection. You can also find mat board that is acid free, which will help to preserve your artwork blemish free for years to come.
Photographs, on the other hand, are often framed in a much different manner from paintings. Because the focus is on the photograph within the frame, photography frames are typically made of slender black metal and utilize a wide-width white mat board. This type of framing offers a sleek, contemporary look, and is one often utilized in art galleries. You might see several pictures, and not be distracted by the mat and frame but instead can focus your attention on the photo, which is one reason why they are attractive in this venue.
There are three other framing supplies that will have an impact on your framing choices for your artwork, and they are the mount board and how you will affix your art to the mount board, and the glazing. For the best preservation qualities, you will want to select an acid-free mount board, as well as mounting supplies such as photo corners, hinging tape or other types of adhesives. The glazing can protect your art from harmful light, and comes in glass or acrylic. The acrylic can be infused with UV-light and glare-reducing products, and makes a good and lightweight choice for framing applications.
Art framing supplies, chosen with an eye toward preservation of the artwork and allowing it to stand in unadulterated clarity, are a crucial component to the total look of your finished piece of art.
Paintings can be brought to their full splendor by the use of custom wood picture frames. They can be ornately carved and thick, or they can be delicate and thin. Several different colors of wood are available for framing, to best set off your artwork. Another aspect of framing to consider when using wood frames is the mat board. Mat board comes in a variety of materials, such as thick Bainbridge cellulose fiber mats or mats made out of paper. They also come in a wide variety of colors, so that you can select those that complement or contrast your artwork. The mat can function as an extension of the artwork when such care is taken with its selection. You can also find mat board that is acid free, which will help to preserve your artwork blemish free for years to come.
Photographs, on the other hand, are often framed in a much different manner from paintings. Because the focus is on the photograph within the frame, photography frames are typically made of slender black metal and utilize a wide-width white mat board. This type of framing offers a sleek, contemporary look, and is one often utilized in art galleries. You might see several pictures, and not be distracted by the mat and frame but instead can focus your attention on the photo, which is one reason why they are attractive in this venue.
There are three other framing supplies that will have an impact on your framing choices for your artwork, and they are the mount board and how you will affix your art to the mount board, and the glazing. For the best preservation qualities, you will want to select an acid-free mount board, as well as mounting supplies such as photo corners, hinging tape or other types of adhesives. The glazing can protect your art from harmful light, and comes in glass or acrylic. The acrylic can be infused with UV-light and glare-reducing products, and makes a good and lightweight choice for framing applications.
Art framing supplies, chosen with an eye toward preservation of the artwork and allowing it to stand in unadulterated clarity, are a crucial component to the total look of your finished piece of art.
On The Road To Success
Why modify this digital camera setting? Experiments in exposure time can produce dramatic effects. For example: Take a photograph of a roaring waterfall in a well-lit area and adjust your digital camera’s exposure speed to take pictures as quickly as possible. In great lighting, and with some modern digital cameras, you may be able to see the individual drops of water falling!
If the histogram is weighted towards the right side with vary little if any curvature near the left, your photo will most likely be overexposed (too light). Use your exposure compensation tool to darken the image. Consider a faster shutter speed to force less light to enter the camera lens. Exceptions can occur. Are you taking photos of a bright sunrise? Then your photo will come out bright and your histogram will shift towards the right. And that will be OK.
What do you do when you leave your tripod at home and you see an awesome shot? There are several things you can do, its not the end of the world. If you are using autofocus mode, your digital camera may have a shutter button that requires you to press halfway down to focus, then fully down to take the picture. If you are experiencing camera shake, get the camera to focus on the subject by pressing the button down half-way, then press the button down fully and keep your finger pressed on the button until the camera has taken the picture.
While sunrise and sunset photos are nice, unless the scene contains spectacular colors, huge clouds, or fast-rolling waves (at a beach), too many of these photos can be bland. Try to add a silhouette, such as: A person or people; An animal, such as a bird or a dog; A sailboat or other watercraft; Trees or shrubs; An expansive bridge To get certain subjects into your photo may require patience, but they help add depth and perspective to your photos.
If you have a good optical zoom, here is an experiment you can do while taking digital camera photographs. When taking pictures of homes, skyscrapers, cabins, etc., zoom in on individual pieces of architecture. Take a minute to really look at your subject, and you may be able to find individual engravings, sections of paneling, or dents and scars in the wood of a cabin that may result in interesting pictures. The trick to taking better photos is to really observe a subject and see it from all angles. Go downtown, find some office buildings, and really take a minute or two to study them. You may find engravings or sculptures on or around the buildings that you have never noticed before.
Don’t damage your digital camera equipment, or yourself, when traveling on double-decker buses! Some tour buses in large towns use double-decker buses for large groups. That way, those who want to take photos can do so without having to shoot through the glass of windows. While this offers a good opportunity for photographers, especially if there is ample light to take fast pictures to offset the speed of the vehicle, be careful with yourself and your equipment! Some of these buses may pass very close to low-hanging trees or stoplights. Thus, you should never stand up taking photographs while the vehicle is moving, no matter how incredible the subject. If you are not paying attention and stand up at the wrong time, a limb or other object could knock your camera right out of your hand, or worse, something can knock you in the head!
While you should always try to take digital photos at nighttime that avoid the blurred results of ‘camera-shake’ due to long exposures with an unstable digital camera, realize that blur is not always undesirable. Some blurring can be used creatively, such as that created by cars driving on an interstate at nighttime. This effect is best performed if the roadway is next to a lit skyscraper or cityscape. Frame a photo containing the cityscape and roadway, and take an exposure of half a second or longer as necessary (use a tripod!). The skyscrapers should look clear and crisp, and the roadways will turn into streams of light.
If the histogram is weighted towards the right side with vary little if any curvature near the left, your photo will most likely be overexposed (too light). Use your exposure compensation tool to darken the image. Consider a faster shutter speed to force less light to enter the camera lens. Exceptions can occur. Are you taking photos of a bright sunrise? Then your photo will come out bright and your histogram will shift towards the right. And that will be OK.
What do you do when you leave your tripod at home and you see an awesome shot? There are several things you can do, its not the end of the world. If you are using autofocus mode, your digital camera may have a shutter button that requires you to press halfway down to focus, then fully down to take the picture. If you are experiencing camera shake, get the camera to focus on the subject by pressing the button down half-way, then press the button down fully and keep your finger pressed on the button until the camera has taken the picture.
While sunrise and sunset photos are nice, unless the scene contains spectacular colors, huge clouds, or fast-rolling waves (at a beach), too many of these photos can be bland. Try to add a silhouette, such as: A person or people; An animal, such as a bird or a dog; A sailboat or other watercraft; Trees or shrubs; An expansive bridge To get certain subjects into your photo may require patience, but they help add depth and perspective to your photos.
If you have a good optical zoom, here is an experiment you can do while taking digital camera photographs. When taking pictures of homes, skyscrapers, cabins, etc., zoom in on individual pieces of architecture. Take a minute to really look at your subject, and you may be able to find individual engravings, sections of paneling, or dents and scars in the wood of a cabin that may result in interesting pictures. The trick to taking better photos is to really observe a subject and see it from all angles. Go downtown, find some office buildings, and really take a minute or two to study them. You may find engravings or sculptures on or around the buildings that you have never noticed before.
Don’t damage your digital camera equipment, or yourself, when traveling on double-decker buses! Some tour buses in large towns use double-decker buses for large groups. That way, those who want to take photos can do so without having to shoot through the glass of windows. While this offers a good opportunity for photographers, especially if there is ample light to take fast pictures to offset the speed of the vehicle, be careful with yourself and your equipment! Some of these buses may pass very close to low-hanging trees or stoplights. Thus, you should never stand up taking photographs while the vehicle is moving, no matter how incredible the subject. If you are not paying attention and stand up at the wrong time, a limb or other object could knock your camera right out of your hand, or worse, something can knock you in the head!
While you should always try to take digital photos at nighttime that avoid the blurred results of ‘camera-shake’ due to long exposures with an unstable digital camera, realize that blur is not always undesirable. Some blurring can be used creatively, such as that created by cars driving on an interstate at nighttime. This effect is best performed if the roadway is next to a lit skyscraper or cityscape. Frame a photo containing the cityscape and roadway, and take an exposure of half a second or longer as necessary (use a tripod!). The skyscrapers should look clear and crisp, and the roadways will turn into streams of light.
Mistakes Made by Photography Entrepreneurs
If passion equaled profits, then many photographers would be instant millionaires. Unfortunately for us photographers, this type of business is 20% photography and 80% business. That is why many phenomenal photographers don’t succeed at making their passion a profitable venture.
If you want to make money doing the things you are passionate about, you have to change your way of thinking. You have to start treating yourself like a business owner. When you are able to make that mental shift, your passions will help you produce income, and enrich your quality of life.
I want to help you avoid some of the mistakes that most entrepreneurs make. Surprisingly, these mistakes are often made in other types of businesses as well, not just by photographers.
Here are the most common ones that a lot of photographers make who want to change their hobby into a real money business:
• They don’t know where to start, so they never do.
• They are unclear on their direction.
• They are great photographers, but haven’t yet developed great business skills.
• They fail to find their niche.
• They don’t structure their business properly, exposing themselves to liability, increased taxes, and limited financial resources.
• They don’t market their talents to the right audience.
• They don’t build a brand from which they can eventually walk away.
It’s everyone’s dream to make money doing the things they are passionate about. My recommendation is to start by avoiding these common mistakes I mentioned above and you’ll be on your way to developing your photography business.
If you want to make money doing the things you are passionate about, you have to change your way of thinking. You have to start treating yourself like a business owner. When you are able to make that mental shift, your passions will help you produce income, and enrich your quality of life.
I want to help you avoid some of the mistakes that most entrepreneurs make. Surprisingly, these mistakes are often made in other types of businesses as well, not just by photographers.
Here are the most common ones that a lot of photographers make who want to change their hobby into a real money business:
• They don’t know where to start, so they never do.
• They are unclear on their direction.
• They are great photographers, but haven’t yet developed great business skills.
• They fail to find their niche.
• They don’t structure their business properly, exposing themselves to liability, increased taxes, and limited financial resources.
• They don’t market their talents to the right audience.
• They don’t build a brand from which they can eventually walk away.
It’s everyone’s dream to make money doing the things they are passionate about. My recommendation is to start by avoiding these common mistakes I mentioned above and you’ll be on your way to developing your photography business.
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