slr film photography special effects part 1 ghosting effect

SLR Film Photography Special Effects (Part 1) - Ghosting EffectWriten by Carl Chesal

I know there are some photographers that still like to pick up that trusty ol' SLR, insert a roll of film and get out there and experiment in the field. Then approach with grinning anticipation as they pick up the developed film from their favorite photo shop and have the person behind the counter ask, How did you take that picture? It's awesome!

It is this photography 'purest' to whom I appeal (this time) the ones that still like using film every now and then. Most photographers have Digital SLRs (DSLR - et moi aussi). I know you can create this effect with Photoshop, after the fact; but having creative control over this special effect makes it exciting because you execute this photo miracle at the precise moment you push the shutter button.

Ghosting. This is what this special effect is called; accomplished by using your SLR's multiple exposure feature, but with a simple twist to ensure proper film exposure. The procedure detailed in this article is different from the instructions in your SLR manual. Ghosting is perfect for pictures involving subjects in motion, taken when the camera and the background is stable (not moving) and the subjects move through, around, or across the frame. I have had great success using this effect when photographing people moving about an historic site or children as they scamper over rocks. I have also used this effect for weddings and sports shoots.

Example: In one wedding photograph, the groom stood still at the bottom of stone steps to an historic dwelling, his hand extended towards his bride, who slowly moved down the steps toward her groom. My six deliberate 'clicks' of the shutter created an airy, surreal picture of the wedding couple.

Depending on the speed of the moving subjects, the shutter can be held down in rapid fire mode or each exposure can be meticulously choreographed:
1) each subject deliberately positioned in the frame,
2) one 'click' of the shutter, and
3) repeat steps 1 and 2 to the total number of multiple exposures you set in your camera.

So what are the mechanics of this through the lens shot to achieve the ghosting effect?

1. Stabilize the camera using a tripod is best, a stable surface is a second option or, a steady hand as a last resort;

2. Set number of multiple exposures you require for the frame to (N) usually 1 to 9;

3. For the roll of film in your SLR, determine the film speed (S);

4. Reset the camera film speed (Yes, you can override the setting) to (N S) or, if not an exact match, set it to the absolute closest speed ((N S) adjustment);

5. Take your picture, depressing the shutter button for a total count equalling the number of camera exposures you set in step 2.

Example:

1. You want 6 exposures on the frame (N=6) so set the number of multiple exposures to '6';

2. You've determined the film speed is 200 (S=200);

3. Reset the camera film speed to '1200' (= 200 6);

4. Depress the shutter button 6 times (for 6 exposures).

REMEMBER: Check and reset the SLR film speed and number of exposures to their original settings before continuing with your next shot. Some SLRs will automatically reset the number of exposures back to '1' before advancing the film to the next frame. It's always better to verify this.

There are no special instructions for developing your film. Normal developing at the rated film speed will ensure the picture is properly exposed and developed simple and beautiful. This is photo art!

Carl Chesal is a business development consultant, trainer, photographer, and avid snowmobiler. He owns Bizfare Enterprise Inc.(http://www.bizfare.ca) and Foursight Marketing and Consulting (http://www.foursight.on.ca) providing business, marketing, and internet marketing consulting services. He also co-operates, with his wife, a number of e-commerce web-sites, MyLeatherExpressions.com, CoolComfortWear.com and PewterExpressions.com, which sell custom leather bags, casual apparel and pewter collectibles.

making photos part ii making photographs rather than taking photographs

Making Photos; Part II Making Photographs Rather Than Taking PhotographsWriten by Henry Bateman

In part I of Making Photos I discussed the need for developing your visual literacy. This is an ongoing process which once undertaken will continue for the rest of your life. In this essay I will discuss some hints for taking snap shots that will have the potential to be made into photographs and a couple of tips to make the process a bit easier.

1. Walk, dont ride. Whenever you can walk, apart from being great exercise you will see so much more. A leisurely stroll around your neighbourhood, once your visual literacy has starting to kick in, will reveal hundreds of opportunities to take pictures that can be made into photographs. If you must ride, as at times we all must, try to be the passenger and make note of those visually interesting scenes you pass for a visit in the future.

2. Hold your camera. Whenever you are out and about with your camera, hold it in your hand, dont sling round your neck. It is much quicker to bring it too your eye if it is already in your hand than if you have to crab it and then bring into play. I wrap my camera strap around my wrist and have my camera turned on and in my hand whenever it and I are out and about.

3. Take lots of shots. Why settle for 1 shot when you can take 6? This will increase your chances of getting that shot that can be made into a great photograph. Small changes made by your subject can make big differences in the photograph.

4. Move about. Dont be static whilst taking your shots, move in a little closer, step back, crouch down, move to the left, move to the right, as with subject changes so to different angles can make for big changes in the photographs. Dont worry overtly about the composition, as your visual literacy grows so your subconscious will compose your shots for you, trust in yourself. Concentrate on the scene youre trying to capture, try and become one with it. The tilted horizons etc can be corrected in the editing program if indeed they need to be.

5. Shoot RAW. If your camera will let you shoot in RAW mode. It adds another suite of tools to your editing program that allows you fine tune your photographs. Although they can be fine tuned within the editing program, and if youre restricted to shooting in jpeg this is the way you will have to go, it is just easier in RAW to play with exposure, white balance etc.

6. Dont rush home. It is a great temptation to get the results of a shoot up for viewing as soon as possible. Resist this and let your shots rest for at least a day or 2 before viewing. Your critical facilities will be less influenced by the excitement of the shoot and consequently more accurate. Street Photographer Garry Winogrand is reputed to have left his exposed films for a year before developing to get this distance. Also hang on to shots that dont make it through the first cut, come back to them in 6 months time, there may well be un-noticed gems in amongst the dross. Some of the photographs that have pleased me the most are ones I found when trolling through the also rans.

7. Flip the pic. While you are working on your photographs from time to time flip them through 180 degrees, either horizontal or vertical, it will enable you to see the picture with fresh eyes. Painters often turn their works upside down whilst working on them to see how the abstract elements are working within the picture frame, photographers can employ the same trick.

8. Play. Modern editing software offers a dazzling array of tools you can use on your photographs. Experiment, what happens if I push the exposure to its limits? What happens if I change the white balance? What happens if I push the contrast? Let your imagination jump outside the box. And most importantly have fun; remember bored photographers make boring photographs.

As the great Ansel Adams said There are no rules for good photographs, there are only good photographs

Henry Bateman is an artist/photographer, his work can be seen at http://www.pissedpoet.com

why stock photography is a great resource for web business

Why Stock Photography is a Great Resource for Web BusinessWriten by Kelly Paal

A picture is worth a thousand words.

And it still is today. With the media changing everyday photography has changed along with it and as a result is still a valuable resource for web business.

Photos enhance the look of a website.

Communicate so much more than words, they communicate emotions.

Photos can be customized for borders and backgrounds.

Photos have more impact than clip art. (They tend to give a more professional look.)

Stock photography is a big business and affordable stock is out there.

As a web business youre most likely a small business and have a limited budget and thats where stock photography can be great resource for you. You can spend as little as $10.00 or as much as $200.00 plus on one image. (Consider that if you hired a professional commercial photographer to shoot a few rolls of film to your specifications it would cost you thousands and thousands of dollars.)

Things to remember when shopping for stock photography:

Know what you want, start with a generic idea and get specific as you shop (Remember you probably will not find the exact image that you have in your head, be open to good photos that you find along the way.)

Shop around, try the larger agencies try the independents too. (Larger agencies offer more to chose from independent photographers offer more personalized service.)

Know what youre going to use it for, stock photography belongs to the photographer who created it, or the agency, so know what you need it for there can and will be limitations of use.

Know what format you need, you only need 72 dpi for the web, be careful that you dont pay for a higher quality when you dont need it. (300 dpi for printing purposes)

Know your terms for the industry, Make sure that you know what the difference is between royalty free and rights managed, and any other terms the business may use. If something is not clear on their site contact them and ask for clarification.

So remember you can add a little more impact and emotion to your site by making use of the stock photography out there today.

About The Author

Copyright 2004 Kelly Paal

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

the 5 deadly sins of photoshop compositing

The 5 Deadly Sins of Photoshop CompositingWriten by Sean David Baylis

Photoshop is a wonderful program that allows you to edit a photograph in as many ways as you can imagine. It allows you to control every aspect of a photograph and gives you editing tools that a traditional photographer could only dream about. With this wide range of editing and compositing tools comes the ability to create fantastic works of art. With the rise in popularity of photography and personal computers, the door has been thrown open, now anyone with a half decent PC and a few spare dollars to buy PHOTOSHOP ELEMENTS can and are calling themselves RETOUCHERS.

In the hands of a skilled user Photoshop can produce awe inspiring work; in the hands of a novice it can produce images of extremely poor quality. Unfortunately, as the popularity of the program grows and people become more and more exposed to these poor images, this lack of quality is becoming accepted as the norm. Here are the things to watch for when creating Photoshop compositions:

1) Feathered edges. When you make a selection, using the dancing ants around an area you wish to move, change, colour or otherwise edit, you have to feather the edge by at least 2-3 pixels (depending on the resolution of your image), in order to avoid the jagged edges we so often see in photo montages. Feathering creates a soft edge that blends the area of the selection with the area it abuts. Feathering an edge by a high value is also a useful way to fade out a selection.

2) Correct Perspective. If you have one element in an image that has a different geometrical perspective that does not match the rest of the image the whole image will look odd. A viewer will generally not know what is specifically wrong with the image, they will just know that it looks odd and generally undesirable. This is generally seen in buildings or cars that have been composited in from other images and not had their perspective adjusted to match the greater image as a whole. This would happen if two images shot at different focal lengths were then combined. An image from a 28mm lens combined with an image from a 200mm lens will need perspective adjustment to look right.

3) Correct Depth of Field. Images that have one object or area in focus and then behind that an object out of focus, and then behind that another object in focus will look very odd and be completely unbelievable. Like perspective, combining images shot with differing depth of field will require you to adjust the focus of the elements to correct the Depth of Field. One draw back, while it is possible to soften objects to make them appear out of focus or have short depth of field, it is next to impossible to sharpen soft objects to make them appear to be in focus. Depth of Field problems are one of the most common mistakes made in Photoshop compositions.

4) Direction of Light. When montaging images it is important to combine images shot with the same lighting conditions. The play of light on an object creates a series of shadows that have a specific directional play depending on where the light source was in relation to the object. If you montage together two images with differing light sources the image will look unreal and undesirable.

5) Colour cast. All images have a colour cast otherwise know as WHITE BALANCE, this is the HUE of the white areas. Also know as the colour temperature of an image. Be careful to adjust the colour cast of montaged images so that the white areas look the same, doing otherwise will render your images unreal and undesirable.

The human eye has an amazing ability to spot subtle changes in what it considers normal. Stare at a picture of a pink banana, after a short while the banana will start to appear yellow, but you will still have the feeling that something is not right. This also applies equally to Colour, Focus, Perspective and Light Direction. When creating montage images in Photoshop it is important to watch for mistakes in these areas as you will want to have your images look as real as possible and thus as desirable or aesthetically pleasing as possible. I have seen far too many images used in big advertising campaigns with blatant disregard for these basic principles. Done right Photoshop can create compelling compositions; done wrong and it just looks, well wrong!

Sean David Baylis is a professional photographer who has been using the popular photo editing program Adobe Photoshop since 1994 version 2.5. He is considered by many an expert user and is called on to retouch major national ad campaigns and art books in addition to his own commercial and editorial work. Examples of Seans work can be seen at http://www.sdbphoto.com

picture frames make or break an art piece

Picture Frames Make or Break an Art PieceWriten by Lucy Bartlett

One ancient proverb says a picture is equal to thousand words. What about picture frames. The main function of a picture or photo frame is to protect and highlight the content it holds. A beautiful work of art can be made to look drab by framing it improperly, using wrong materials. Similarly an excellent frame can definitely enhance the beauty of the picture it holds.

There are frames and there are frames but to select which is most suitable for the picture or photograph it is going to be a very difficult job. A wrong choice and you lose the contented feeling you get when you look at a work of art.

Occasionally, pictures are abnormal in size so you need custom picture frames which are quite expensive. To complement the picture, to get a perfect look and merge with ambience of the room where the picture is display one should be willing to commission a professional to build the perfect frame. For more information visit www.pictureframeheaven.info

Picture and photo frames of standard sizes are not expensive and they can be bought from your neighbourhood shop. To suit our individual style and also to enhance the quality of the pictures, care should be taken to incorporate these factors when we select standard picture or photo frames.

Picture frames come in hundreds of colours, different shapes and a wide variety of materials which will complement the interior decoration.

The photo frames are made of pewter, stainless, ceramics, composites and crystal. Your budget is the only criteria to select the best available design and material.

Picture frames can be artful in their own right with wide borders, bright and bold colour. Try to avoid a picture frame which overwhelms the image it carries.

For the contemporary home select metal frames in darker shades such as black, copper, gold or silver. To get a Mediterranean style select bold white frames. To create an antique Victorian look ornate gilded frames are the best choice to highlight beautiful art and special prints.

The childrens room will get a youthful atmosphere by using plastic frames in vivid colours.

Avoid metal frames to encase valuable pieces of art. They are priced moderately and sold as kits with their backs open. This makes the contents exposed to dust and moisture.

With proper tools and after little practice you can make your own wooden picture frames and it is a correct choice for original arts, limited edition prints and other valuable photos.

Lucy Bartlett is a proud contributing author. Find more articles here. For more info visit Picture Frames or Custom Frames

fashion models start your engines

Fashion Models - Start Your EnginesWriten by Bob Pardue

How to Promote Yourself as a Freelance Model

If you would rather promote yourself ...

Some models would rather promote themselves instead of listing through an agency. Nothing wrong with this but it does require more work on your part.

If you are signed with an agency, they promote the business, they talk to the clients in your behalf, they set up the shooting dates, they take the heat if you don't make it to the session, etc.

But, there are many models who are loners in the pool of modeling and want complete control over who they work with and why.

If you are one of these models, read on ...

There are several ways to promote yourself. I will try to mention some ways for you to promote your modeling talent and a step by step format to follow.

First things first ..

In self promotion, the first step to take is putting together a professional portfolio.

Once you've followed the portfolio guidelines from above, it's a good idea to have comp cards and business cards made.

A) Business Cards - Your business card should have as much information on it as possible. It's not expensive to have extra words listed and this way you can include things other than the name and phone number.

For best results and at just a little extra cost, I would suggest putting your photo (preferably a headshot) on the card. People don't tend to throw away photos as quickly as they do just cards. Below the photo (or on your card if you choose not to include the photo) you should list ..

Your name, contact phone number, email and don't forget to put your web address on the card
You may want to also include in bulleted form your attributes (i.e. height and weight), special skills and the type of modeling you specialize in (your modeling strength area)

B) Composite Cards - You'll definitely want to get composite cards (comp cards) made to hand out to possible clients / agents and to leave with clients or photographers you work with. A comp card is one of the least expensive pieces of printed promotional material but packs a big punch in saying, I'm a professional model.

Here is a basic layout of a comp card ..

Front - Photo covering the front of the card (I suggest a good, strong headshot here) along with your name in bold letters.

Back - From four to six photos showing different looks (indoor and outdoor) in a variety of outfits with at least one good body shot (swimwear or tight-fitting clothing).

The back of the card will list important information about you and your stats including ...

Contact information (Who to contact, phone, email, web address, etc.)

Height

Weight

Bust size / cup size

Waist size

Hip size

Dress size

Shoe size

Hair color

Hair length (short, shoulder length, long)

Eye color

Type(s) of modeling jobs preferred (i.e. commercial, fashion shows, catalog, promotional, etc.)

No need to feel overwhelmed with the details of getting your comp card ready. There are many companies online such as CompCard.Com who have versions and templates online which will help you every step of the way.

Remember too that there are many different versions of comp cards so it's all a matter of personal preference as to which style you choose.

C) Modeling Websites - When it comes to websites, I could probably write complete chapters on the subject but I will try as best I can to simplify this part.

Your website - Paid or Free?

Should you pay to have your own website created or go with one of the free web listing services online? Your choice in the type of web promotion you do depends upon your level of experience and the amount of budget you have to work with.

If you are, in actuallity, an eccentric millionaire and are just pursuing modeling out of boredom, by all means hire a professional web designer and start from scratch to build a website that other models will be in awe of! But, even if you go this route, there's the promotional costs and time to think about; time that could be better used to improve your modeling abilities and make contacts with clients who need you for their photo projects.

I personally feel that it's better to start but using a few of the online services (paid and free) to get your name out there. You can do a search and find many listing places but two sites that seem to have lots of buzz at the time of this writing are ..

One Model Place & Model Mayhem

Both of these sites offer a basic free package or a paid premium package. Either way, this is a less expensive way to get your feet wet and find out if you've got a look which is in demand.

--------------------------------------------------------------------------------

A word of warning about putting your model photos online

Remember to stay safe when placing your photos online. Don't provide too much personal information about yourself or location untill you've thoroughly checked out the person who is contacting you.

If you are under 18 years of age, put your parents' email address in the contact section and have them deal with any incoming offers.

Never, Never meet a photographer or potential client alone. Take a parent or friend (preferably male) with you untill you are completely satisfied that you're in a safe environment. I cannot stress this enough!!

--------------------------------------------------------------------------------

There are other ways to promote yourself on or off the Internet such as contacting local upscale clothing or department stores for fashion shows or catalog work, jewelry stores if you offer hand modeling, hair salons, etc.

This is your starting point in becoming a real model. See if you can come up with more creative ways to promote yourself as a professional model.

Remember, you can have the most awsome beauty & talent in the world but if nobody knows where to find you ... It'll all be in vain! So, get off your backside and go to work!!

Bob Pardue is a professional fashion model & teen lifestyle stock photographer. His work has been published worldwide. Bob Pardue Model Photography

a great photo but do you need a photography course

A Great Photo, but do you need a Photography Course?Writen by Finn Jensen

Photos can look great. An astonishing landscape can transport the viewer to another time and place. Maybe it is just for a fraction of a second. A great photograph of a person can look into the persons soul, and let you share their smiles or tears. A great photo communicates to the viewer. There is an enormous market out there for photographs. Publishers know that the people who buy their materials want photographs that reach out to them. Visual communication is something that we all can relate to. Subjects out there to take photos of are never ending. The only limitations are within your mind.

But what is it that makes a photograph successful? A photography course can definitely help you, but the answer is fairly simple, and you can improve your photography today, if you just learn a few very basic rules.

However, rules are meant to be broken. Some of my favorite photographs very purposely break a lot of the basic rules. But to break the rules in a way that enhance a photograph and effectively turns it into a great photo, you first have to know the rules and second you must have a reason for breaking them.

Number one: Get in close, really close, much closer than you think.

The first, and most essential, rule: Simplify. The more you simplify a photograph, the more attention you draw towards your subject. And the more attention you draw towards your subject, the more successful you will be in communicating your message to the viewer. There are approximately a million ways to do this, so I will keep it simple and stick to my preferred technique here, and that is to get in as close as possible. When you do that, you eliminate anything in the background that may distract from your subject.

Number two: The photographic composition

Most strong photographs position their main elements in certain specific places of the frame. When you think about where you want to put your subject in the photo, you are composing your picture. When a painter starts out with a blank canvas, he or she has full control to decide where to put that river, those mountains, the trees, clouds and whatever thing that needs to be included. Creating a photograph, you ought to go through the same process.

Number Three: Is there a better way to do it?

The last thing we will talk about is point of view. The photographers point of view more exact. How often have you seen something worth taking a photo of - perhaps a barn, a tree, or your dog - and picked up your camera to take a picture right then and there? If this is the way you go about taking photos, you can noticeably improve your technique with one simple process. Just walk around the subject. Notice how the background changes as you move 360 degrees around your subject. Try to lie down on the ground and point the camera up at your subject. Climb up a ladder and look down, trying the same thing. Tilt the camera vertically, even diagonally. Take a whole roll of film or fill a whole memory card if you use a digital camera, of the same subject from different points of view and compare the results. You will surprise yourself. You will certainly surprise the viewer by trying something different and that will add power to your photo.

So, should you take a photography course? I think so. It does not have to be a long tedious one with a lot of technical stuff and hour after hour with boring behind the desk lecture. No, go out and play with you camera I will see you out there!

Huge amount of information on Photography Course - check out for your self.

photographers only need to learn 25 of photoshop

Photographers Only Need To Learn 25% Of PhotoshopWriten by Sydney Pix

As a working photographer and part time Photoshop teacher I have found that there is a lot of difference in how much a photographer and a graphic artist needs to know about Photoshop.

Its true a graphic artist needs to know about 75% of the program to get by, but a photographer only needs to know about 25%.

Lets face it, we photographers just used to take photos, our day was concerned with did that film turn out or did I get the lighting right?

Now that we have digital cameras we are forced to look at the images on a computer screen and the net thing we say to ourselves is I wonder if I could up the lighting or get rid of that colour cast, etc.

The up-to-date photographer is not only now taking digital images but also involved with manipulating them as well. So just how much manipulation should a photographer be expected to do?

As a wedding, glamour and portrait photographer you would be adjusting;

1)Lighting

2)Eliminating any colour casts

3)Fixing minor facial problems such as acne

4)Sharpening a photo

For a Commercial product photographer;

1)Lighting

2)Eliminating colour casts

3)Fixing focus issues

4)Blending layers together with type

For the Fashion photographer;

1)Lighting

2)Eliminating colour casts

3)Fixing focus issues

4)Blending layers

5)Using filters

In each case the photographer has a range of tools available to them and not only that, they also have a number of different ways of reaching the same outcome.

I find as a teacher of Photoshop to photographers, many have picked up a few tricks along the way and have not properly studied how to repair images the right way making their photos look inferior to others and even damaging their files as they go.

Sydney Pix is a professional photographer who has designed a comprehensive 3 DVD course in Photoshop just for photographers which shows you step by step how to get a great result every time.

If you prefer to be shown how to do things rather than given a thick manual when you learn something new, then this is the course for you. For more information visit http://www.profotocourse.com/learn-photoshop.html

six clues on what to look for when starting a photography business

Six Clues On What To Look For When Starting A Photography BusinessWriten by Roy Barker

What you should be looking for when starting a photography business is a rough business plan that suits your personality, your goals for your business, one that enables you to be organised and motivates you to convert your dreams and theories into action. A business plan can be drawn up for you and tailored to your specific needs by a qualified business coach or you can do it yourself. A business plan gets your business off to a perfect start and includes planning everything from what you will charge for your photographs, to your finances, and marketing strategies.

Important elements of what to look for when starting a photography business that is to be included into your business plan are the prices you should charge for your photographs.

Knowing what price you should charge your customers for your photographs will be based on your costs you have had to outlay in starting your business as well as your research on what other photographers are charging. To give you a good idea of how to price your photographs, look at the prices that other photographers who are new to the scene charge, and also look at what photographers who do similar work and services to you charge. When your business gets up and running and grows to be more successful you will be able to look out for the prices your competitors are offering, match it or better it. If your name becomes well known and your photography becomes the latest thing, then you will be able to charge your customers more for their privileged access to your services, however in a more realistic situation when your business grows, you will most likely lower your prices in order to compete with other photographers. If you find that your particular style or avenue of photography is in great demand, or there are few photographers who have a similar style of work to what you do, you will be able to charge more for your photos. There are also scenarioes where you can raise your prices for special services but there is much more on that in my eBook.

An essential factor in starting a photography business is the amount of finances you will need to run it successfully, including the hidden and ongoing costs involved with all businesses. In relation to finances, start with what you are comfortable with, but your business (in order to be successful) must be backed with a realistic and reasonable amount of funds, including the costs for marketing that is essential to build your business, and you should always allow for an increase in the marketing budget as sales pick up.

Ensure your marketing strategy is making the most of your money, getting your name and services out there. No one will know about you unless you sell yourself and display how beautiful/clever/funny your photos are. Your marketing strategies need to include a clear description of your business name, your experience and/or qualifications as a photographer, display your flair through example photos, the services you offer, the type of photographs you take, your prices, and most importantly where and how customers can find you/contact you.

What to look for when starting a photography business: Some important points and questions to consider;

Does your advertisement/website present your business name and your services in a clear and attractive manner? Ask yourself, Would I be interested in the services that this photography business offers?

If you have a website is it easy for your customers to navigate through, or is it like a maze? Your website can display your personality, however it must be presented in a professional manner, where customers can find the information they are looking for quickly and easily. We live in a fast paced society, often if people cant find what they are looking for within one minute on your website, they will most likely move onto another one.

How easy is it for customers to access your services? Make sure that your contact numbers/addresses are easy to find and clearly visible (to people of all ages) both in your advertisements and on your websites. Have a look at the advertisements yourself, and get your family and friends opinion too, doing this may save you money. Tip - make your phone number in larger type on our business card. After all, that's really the only reason you should keep them, so that people can quickly and easily contact you. Not marvel at the motto or pretty typeface.

If you want your photography business to work through an agency, research and trial the company/agency offers to sell your photos first. Ask yourself Am I satisfied with the results? In order to answer this question, you may want to review the initial goals you had for your business, and also research/compare other photographers experiences with that same or a different agency.

You should not charge unrealisticly high prices for your photographs to make up for the loss of finances and ongoing costs in starting your photography business that you did not account for. You must start your photography business with a realistic amount of finances to support your business through the initial challenges and slow times. This may include having other sources of income to support your photography business in its infant stage.

It is essential to follow and to adapt your business plan, continually review and focus on your goals, learn from your mistakes, and to research and seek help when in doubt.

This article has been supplied courtesy of Roy Barker. Roy often writes and works closely with Profitable Photography Business. If the previous link is inactive, you can paste this one into your browser - profitable-photography.com This site is dedicated to coaching you in starting your own photography business but places a strong emphasis on profitability issues & guidelines. You can also gain many photography resources (some free) from Photography or if this link is inactive, you can copy and paste this link into your browser - profitable-photography.com/resources.php If you seek further guides, articles and news, you can go to Photography Tips or if this link is inactive, you can paste this address in your browser photography-business-tips.com Why not bookmark these links!

digital cameras experimenting with digital photography

Digital Cameras - Experimenting with Digital PhotographyWriten by Joseph Then

Digital cameras have given the photographer enthusiast new horizons and ways to experiment in photography. The old fashioned cameras had several restrictions and were often difficult to adjust to the perfect picture. However now with the advent of this modern technology photography has become fun and enjoyable for professionals and hobbyists alike.

The best part about using a digital camera is the fact that you can easily upload photos to photo galleries like Yahoo photo albums. This eliminates the need for sending large image files because you can just send a link to the photo gallery to friends or family.

Part of the fun of experimenting with photography is with different lightings. The ease of the digital camera to adjust to various lightings makes this more fun. You can make some spectacular looking photos by just taking them in different settings. Lighting is everything in photography and you can experiment with many different shades and exposures.

Use different angles to add to the effects. They are light and easy to handle with not too many accessories to worry about. This will make it easy to take different shots for different poses and angles.

Zooming in and out is another way to get interesting photos with digital cameras. Because of the ease that you can do this you can experiment with different focuses. This is especially fun when you take portrait photos. You can also make some interesting pictures with objects. Have fun experimenting with different focuses making part or the complete background out of focus for different effects.

Perhaps the most useful and intriguing way that digital cameras can be used is the ability you have to adjust and fine-tune your pictures even after you have taken them. This will take a little expertise in graphic programs like Photoshop but will be well worth it.

You can create many effects and adjust photos with these graphic programs. This means you can achieve a picture perfect photo before you print it, even if your original one may have been less than perfect. You can even change the file format to get a sharper, clearer image.

There are many exciting things you can do with your digital camera. It has opened the doors to a new and exciting world for photographers. Whether you are doing photography for a hobby or professionally you will enjoy this new and exciting way of taking photos.

Learn more about the functions of a camera. Check it out at Digital Cameras Reviews.

photography software

Photography SoftwareWriten by Edward Ginsberg

My friend Harry Potter and I have recently combined forces to develop a new kind of photography software. This will be built into digital cameras and will allow the photographer to take a perfect picture every time. When we say perfect picture, we dont mean correct focus and exposure. A lot of cameras can already do that. We mean subject matter and composition.

It shouldnt be difficult. After all, the rules of composition were devised before the camera was invented, and the Internet is full of useful tips on how to take a good picture. All we have to do is program the software. It would compare the picture that is on the photographers digital camera screen with an ideal photo. Then, by means of a voice program, it would direct the photographer to improve his image. So, for example, if he is about to take a shot of a statue, he might hear the following:

This picture violates the Rule of Thirds. Move the camera four degrees to the right. That is better. General Photography Tips also suggest that you get closer to the image. Move two feet closer. You now have a perfect picture. Snap the shutter.

Thats about all the entry-level software would do. But a lot of photographers want to be more creative. Dont worry. The advanced software will take care of this. It will allow a photographer to dial-in the style of his favorite photographer. The program will then analyze the image in terms of the basic program while incorporating the style of the selected master photographer. An example is the deluxe Robert Frank model. Here the software voice would function as it did above but, before the snap-the-shutter command, it might add,

You have a perfect picture, but it is not a Robert Frank picture. To achieve that, kneel down, point the camera slightly upward not so much now tilt the camera and dial in the grain filter. You now have a perfect Robert Frank picture. Snap the shutter.

Okay, for those of you still with me, the question is as follows. If you could buy a camera that could do all these things, would you? If you say no, then I ask why not? Countless photographers study the rules of composition and read the latest photo tips. They ask strangers on blogs to tell them how to make their pictures look more like everyone elses. In short, they try to do for themselves what our hypothetical software program will do automatically.

But how many people study the work of photography masters. How many have the courage yes, it takes a certain amount of courage to try to develop their own style? Im always amazed that a painter is willing to spend four years at an art school, while a photographer wants to read the camera manual and instantly turn out great pictures.

For those of you who want to learn to express your individuality, it takes time, study, and sweat. But its a rewarding process. And to those who want to turn out flawless photos quickly, have I got a piece of software for you!

Edward Ginsberg is currently writing a book to help the beginning photographer find true happiness as he embarks on the road to creativity. Ed's photos can be seen on his website, http://www.line17.com, where he also offers a free tutorial.

photography breaking into the business

Photography - Breaking Into The BusinessWriten by Michael Russell

So you want to be a photographer. Well, you've got a long road ahead of you. Photography is one of the most competitive fields in the world. It doesn't matter where you live or what language you speak. Anyone with a camera can be a photographer, which makes the competition fierce. So if photography is something you have your heart set on doing, then there are a few things you're going to need to know. This list is by no means exhaustive, but it will give you a start.

The first thing you absolutely must do is decide what field of photography you want to get into. There is fashion photography, sports photography, glamour photography, studio photography, outdoor photography, children's photography and the list goes on and on. The market for each of these and many other types is wide open. And with those wide open markets also comes a lot of competition. Deciding on which field you want to get into should not be based on the path of least resistance. There is no such thing. Pursue the path that you have the most passion for.

The next thing you have to do is get all the equipment that you're going to need. This is going to vary depending on what kind of field you want to get into. For example, if you're planning to become a photographer who specializes in stock car racing, then you are going to need a lot of equipment for taking high speed photos. The good news is that you're not going to have to spend a lot of money on lighting since these photos will be taken outdoors. Conversely, if you're planning to photograph fashion models, lighting is going to be critical to your photos and your lighting equipment expense is going to be quite high.

The next thing you're going to need to do is advertise. You'll have to print out business cards, take out ads in magazines and newspapers and more or less get the word out that you exist. If you're hoping to break into the field taking photos for a magazine like Playboy, then you're going to have to first get some private work photographing models in order to submit these photos to the magazine itself. Before you do that though, you're going to have to write to the magazine for permission to send photos. Most publications do not accept unsolicited material.

If you're planning on opening up a studio to take children's photos then you're going to need to lease a building. It doesn't have to be anything large but it should be in a visible part of town with a lot of other businesses. Visibility is half the battle won.

Finally, you're going to have to take lots of photos, especially if you want to build a reputation for yourself. You'll want to put together a portfolio of your work so that you can bring it around with you. Again, this is going to depend on what field you want to get into, whether it be freelancing for a magazine, setting up your own shop, or working for somebody else, which is usually a good way to break in.

The world of photography is wide open. There are many options to each aspiring photographer. So pick a game plan and stick to it. With patience and perseverance, you'll eventually get to where you want to be.

Michael Russell

Your Independent guide to Photography

are we off on the wrong track

Are We Off On The Wrong Track?Writen by Rohn Engh

Would Cartier-Bresson Be Accepted at Getty Images.?

History shows us that all aspects of creative expression go through phases as styles and public preferences change. Sure, fads and crazes come and go, let alone approaches in art. And as the ability to gain new information speeds up, thanks to the Internet, well see art preferences change even more rapidly, whether its in womens fashions, mens hairstyles, or photography.
Here at Photosource International our customers require photos that reflect (in a real-life way) the world around us. We arent photojournalists, whose customers are usually news outlets, TV, and websites that pay high fees for disaster pictures (the kind we see nightly at the news hour); nor are we paparazzi who get paid well for photos of celebrities and their doings.

DROWNING IN WISHFUL IMAGERY

And especially we are not commercial stock photographers who specialize in wishful imagery (the world according to Getty, Jupiter, iStock, and Corbis). The Internet is now drowning in this kind of imagery. Check out any of the on-line agencies. Theyre all there, the generic lovely blonde with green sunglasses; a suit throwing documents in the breeze; day-glow chartreuse tennis balls; a close-up of a wind-swept fashion model; and of course, the cell phone guy.
Ho-hum, yawn. Is this the kind of subject matter that attracts an emerging photographer to the field? In the majority of instances, people decide on a photographic career because of their love of capturing something meaningful or poetic with their camera. They win a prize, they take a photography course, and then they search for ways to make money with their talent, to provide for themselves or their family.

They encounter a fork in the road. They learn about Royalty-Free and Rights-Managed images. They embark on a career of supplying generic images, copying the style and content of the major stock houses.

Are these generic stock images the easiest pictures, to take for emerging commercial stock photographers? Next to snapshots, they are, if the photographer takes the copycat approach. Most commercial stock shooters have found that the effortless way to produce a bunch of commercially acceptable stock images is to capitalize on the ideas of the leading stock houses that have done the market research and know the trends.

This has always been the formula for the fashion industry, the music industry, and most other industries where taste and trends guide production. The recipe in the stock photo industry is to keep the successful concept the same, and add favored locations, clothing, hairstyles, preferred tones and tints.

Am I being too critical? Im asking, Is this how you want to spend your creative life? It seems to me that this kind of photographic activity takes not much more talent and creativity in photography awareness, than photographing fireworks, or hot air balloons, or sunsets and rainbows.
Check out the advertising photographic awards of the year before last, or ten years agothisll give you an idea of the shelf life of such commercial stock.

Dig deeper. If someone can easily copy your idea, then its not much of an idea.
Dont be the stock photographer who wakes up one day and asks, What have I been doing? Have you followed the wrong track?

Sure, some of the major stock agencies call attention to real-life editorial images, or even historical images. Getty Images, for example, features the TIME-LIFE Magazine collection; Corbis features the Bettmann Archives. But these are not contemporary images.

Contemporary editorial photographs are usually interpreted as disaster pictures or photos that are newsworthy. Everyday-life photographs are left to be produced by individual photographers who choose to interpret the world around them, void of any influence by art directors or monetary pressures.

Would Getty Images accept work from Henri Cartier-Bresson in todays stock photography climate? Probably not. Too narrow, too focused in subject matter an art director would say. Incapable of selling product.

IS THERE AN ALTERNATIVE?

Can you wear two hats, that is, take meaningful, long-lasting photos, and also engage in stockschlock to put bread on the table? Probably not. A few have tried, but speaking two languages at the same time is near impossible.

But you can make money in editorial stock. Worldwide, $700 million is spent annually for editorial stock photography. Three fourths of that is commercial editorial stock, and about a quarter of that is what I define as true-life editorial stock, $17 million. That translates to about $50,000 a day spent on non-commercial editorial stock.

Some publishers (of coffee table books, textbooks, etc.) spend $150,000 a month for photography. Theyre not interested in Royalty-Free images. They need appropriate editorial stock that reflects the quality of the word content in their projects.

In short, if you follow the big money trail in stock photography, youll land at the major agencies and begin producing a commodity for them. But there are plenty of alternatives in todays visual society. The choice is yours. You can follow your original dream.

Rohn Engh is director of PhotoSource International and publisher of PhotoStockNotes. Pine Lake Farm, 1910 35th Road, Osceola, WI 54020 USA. Telephone: 1 800 624 0266 Fax: 1 715 248 7394. Web site: http://www.photosource.com

how to use digital photo editing software

How To Use Digital Photo Editing SoftwareWriten by Thad Pickering

One of the great benefits of digital photography is that you can edit the shots you have taken and vastly improve the images before you print them out. This puts the ultimate responsibility for the final photo output in the hands of the photographer instead of a processing lab, and lots of people like it that way. So here are a few ideas on how to use your photo editing software.

Actually many digital cameras will let you make some basic image adjustment within the camera itself, including rotation, removing red eye from flash shots, and some basic cropping. But beyond that you will need a digital photo editing software program to take editing to the next level.

You may have gotten a photo editing program bundled with your digital camera when you bought it, so be sure to check through the package and know what the manufacturer provided as some of these bundled software programs can work very well for you. If you didn't get a photo editing program with your digital camera there are still plenty of other options, as there are several good free photo editing software programs available on the internet for download that will let you do more advanced editing including cropping and file resizing, color adjustments and much more.

For the average or above average photographer, there are two programs that you can also buy for around $100 that will bring almost all the features you will need to any photo editing task and they are Adobe Photoshop Elements and Corel Paint Shop Pro 9. Either of these programs offer more advanced features including incremental control over brightness, contrast, sharpness, color saturation and much more. They are also fairly easy to learn and use.

And then for the most demanding of photographers or professionals who work with digital images, the ultimate photo editing program is Adobe PhotoShop itself. There is almost nothing that you can't do with this program. It is extremely powerful, but also has a fairly steep learning curve, so if you don't fit into this small circle of high end users there is no real need to pony up the hundreds of dollars that will be necessary to get such an advanced program. The choices mentioned above would be a better bet for the vast majority of folks instead.

So as you can see there are several choices to be made when it comes to how you plan on editing your digital photos, and there are also plenty of digital photo editing software programs that can help you accomplish almost any editing task that you could want simply, quickly and easily. Just choose the program that best fits your individual needs as outlined in this article.

Thad Pickering writes on many consumer related topics including digital photography. You can find the best photo editing software and photo editing programs by visiting our Digital Photography website.

digital photo storage builtin vs removable storage

Digital Photo Storage: Built-in vs. Removable StorageWriten by Warren Lynch

Most older digital cameras come equipped with fixed storage which limits the number of pictures you can take before you have to download to make room for more. If that sound like your camera, then it's time to upgrade.

Removable storage devices enable you to take as many shots as the device will hold, pop it out, pop in another and keep on shooting. It's like carrying extra film for your analog camera. You can keep shooting until you run out of olls.

How many shots you can store is a factor of the capacity (number of Megabytes) of the storage device, the image resolution and the type of compression being used.

This is an important number to know because when you reach the capacity limit you're either going to have to remove the device and slip in another, download the images to a computer or erase some of the images.

It's easier to choose storage device capacity if you think in terms of olls of film. If you normally shoot 10 rolls of 24 exposure when you're off on vacation, then you need enough removable storage to hold 240 images at whatever resolution
you'll be shooting. Storage is cheap so it's better to have and not need than to need and not have.

There are different types of removable storage technologies available and the one that you use is dictated by what your particular camera supports.

Removable Flash Memory cards use RAM chips which are similar to the ones found in computers except they do not have to stay powered up to store your images.

While many digital cameras us the standard PC Card (PCMCIA)interface for their flash memory, some manufacturers are introducing proprietary formats which restrict the type and brand of card which can be used.

Common flash memory devices include PC Cards, CompactFlash, SmartMedia, Sony MemorySticks and xD-Picture Cards.

PC Cards have the most storage capacity but their large physical size restricts their use only to big-frame cameras.

CompactFlash (CF) cards are the most widely used storage device among the entries in the consumer camera market. There are two types of CF cards. CompactFlash cards with slots that are 3.3 mm thick are known as CompactFlash (CF) or CompactFlash Type I (CF-I). If the slot is 5mm thick then it is a CompactFlash

Type II (CF-II). CF-II is gaining in popularity.

SmartMedia cards are smaller than CF cards and do not have as much storage capacity.

Sony Memory Sticks are used mostly in Sony digital cameras although some other brands do support them.

xD-Picture Cards are the tiniest of the removable storage devices and are used in miniature digital cameras. They are designed as a replacement for the larger SmartMedia card.

It's important to know what type pf storage device a camera uses before you buy it. That way you can make intelligent decisions concerning the ongoing costs of storage and choose a camera which most closely matches your needs.

This digital photography tip article is brought to you by award-winning professional photographer Warren Lynch. Exciting articles gives both beginners and advance digital camera enthusiast the leg up. With cutting-edge digital photography blogs, forum and review resources.

film vs digital

Film vs DigitalWriten by Stan Cox II

I was reading a piece the other day, written by a photographer who offers both film and digital capture to his customers. I am always interested to hear other professional photographers opinions on the subject. I was a film devotee for over 30 years, and only made the switch to digital a little over three years ago.

In the piece I mentioned, the photographer/author sited the fact that film is more forgiving than digital when it comes to proper exposure. This is certainly true. Especially in the highlights of the image. You can overexpose negative film by more than two stops, and still get details in the highlights.

For those of you who arent familiar with photo-geek speak, for any given scene framed in the viewfinder of a camera, there is a correct exposure to the light coming from the scene and onto the film, or digital sensor. Over exposure by one stop means twice as much light as should be getting to the film or sensor, is getting to it. Two stops over is twice that much more, or four times the amount of light as the correct exposure.

Do that to your digital capture and theres no recovering data from the highlights. Sorry, its gone! Actually, positive film, or slide film also has a much lower tolerance to overexposure, so not all film is that much more forgiving. But the point here is ta DAForgiving, (and may I finish the thought), of bad exposure!

The author of the piece I refer to here also is a photographer in Hawaii, as I am. He writes of how the light here changes so quickly and frequently with the trade winds blowing the clouds over the sun, then away from the sun, etc. And it is true that on many days, especially in the earlier afternoons the brightness and intensity of the sun can vary quite a bit.

Personally, my solution is, knowing that about the light and the sun, clouds and trades, 1) be aware of it, and 2) know your equipment so you can make rapid adjustments, and then, 3) make the adjustments as needed!

Then there was the assertion that, Prints made from negatives have more depth than prints made from digital files.

As I mentioned, I was a film devotee for over 30 years. And I used medium format cameras using negatives over 3 times the size of 35mm negs. Print quality was one of the main factors that kept me from converting to digital earlier than I did. I insisted on seeing my own images printed digitally, that matched the quality of the prints I was used to from my film processing labs.

The simple truth is that prints are two-dimensional. Prints have no depth. What creates the illusion of depth in an image are the contrasts in the image. Shadows and highlights, perspective, and the human mind. It is up to the photographer to shape, frame and capture the elements that create the illusion of depth. Thats why professional photographers create images, while others catch snapshots.

The other evening at a meeting with some art directors, when I was asked, How do you feel about digital? Has the quality caught up with film yet? I unhesitatingly responded, It has caught and surpassed film!

Of course I was speaking from the perspective of a professional photographer. When you have a correctly exposed image, and you use state of the art printers, you simply cannot beat digital imaging. My big, medium format negative film prints would start to get grainy at 30x40, but my 6 mega pixel digital images, printed on Epson Stylus Pro printers look tack sharp at 40x55.

So, strictly on an image comparison, print to print, film and digital, I would have to say theres virtually no difference up to about 16x20, or maybe 20x24. Larger than that, digital is superior.

All this being said, visual arts are very subjective, and this is my opinion.

About the author: Stan P. Cox II runs a Portrait and Commercial photography studio in Honolulu, Hawaii, and has been a professional Hawaii photographer for 31 years. His web address is: http://www.ParamountPhotography.com This article may be freely distributed if this resource box stays attached.

7 attributes of a successful fashion model

7 Attributes of a Successful Fashion ModelWriten by Bob Pardue

Have you ever looked at a successful model and said, I am just as beautiful as this girl so I think I'll become a supermodel.

I would like to clarify one thing and please listen carefully ...

THERE IS NO SUCH THING AS A NATURAL-BORN MODEL!!!

Yes, some people have a natural beauty and some learn more quickly than others. I'll agree that these attributes are important. But, I'll say it again - There is no such thing as a natural-born model.

If you believe this, let me ask you a question. Do you believe there is such a thing as a natural-born surgeon? Do you think that the most famous surgeon in the medical profession was born to be a doctor? I guess when he was delivered the doctor who brought him into this world said, Look!!! It's a surgeon!! I don't think so.

For this man to become this famous surgeon, it took many years of education, internship, and watching other doctors before he was even considered to do actual surgery. I'm really glad he did, aren't you?

And, even after all these grueling years this doctor still was not guaranteed to become well-known in the medical industry.

The point I'm trying to make is that, modeling can be a rewarding profession but it does require some effort on your part.

The following are some of the attributes of successful models ..

Learning ability and intelligence

Self confidence

Willingness to travel and leave friends and family behind

Good organization skills

A healthy body and lots of get-up-and-go!

A model who is comfortable in setting goals and not afraid to go after them with a dogged determination

Resistance to peer pressure - Stay drug and alcohol free

Don't just read these attributes. Study them, learn them, and make them a part of your own personality traits. If you don't have them at first, pretend that you do.

Remember, you will become what you think and the way that you act. You're not lying when you say, I am in the process of writing down my goals for modeling and on my way to becoming successful. You're just telling the truth in advance!!

Bob Pardue is a professional model photographer located in the Southeastern US. His work has been published worldwide. Bob Pardue Photography

the new point and shoots

The New Point and ShootsWriten by Kenneth C. Hoffman

If youve been waiting for technology to catch up with your point and shoot film camera, it has arrived. Not inexpensive at $250 to $480, the following digital cameras feature some type of vibration reduction, 6 - 8 megapiixels of resolution and a large (2.5 diagonal) monitor (except Casio). Some have a viewfinder for easy viewing in bright sunlight and while all models have built in flash, their range is limited.

The feature of image stabilization enables you to capture a sharp picture in dim light without using the flash or when a telephoto lens setting is needed. Every one of these digital cameras are capable of producing ultra sharp 4 x 6s and great 11 x 17 enlargements.

My choice is the Pentax A10. It has the sharpest monitor, the most effective image stabilization and the best flash range. The DIVx movie mode is also a plus. However, you may have other priorities to help you decide on a model. The Sony features a terrific slide show with music but is pricey for 6MP. The Casio is low priced and thin, but hard to see in bright light. The Panasonic has a nice optical view Finder and is reasonably priced. The Canon has the longest zoom but is overpriced. All have a plethora of special features but the one you will use most is the dial marked AUTO. If the video capability is important to you then buy the largest SD or MS Card available (2GB). For regular still photos a 256 or 512 megabyte card is enough. Some models include many manual settings for the advanced amateur so further research may be called for.

CameraViewRESZoomCardLCDThicknessFlashPrice*

Casio Exilim EX S600NO6MP38 - 114SD.6 85K9 ft.$273.00

Canon SD 700 ISYES6MP35 - 140SD1.0 173K11.5Ft.$479.00

Nikon Coolpix P4NO8MP36 - 126SD1.2 150K13Ft.$340.00

Olympus Stylus 710NO7MP37 - 111XD.8 115K13 Ft .$283.00

Panasonic DMC FX9YES6.4MP35 - 105SD.9 207K12 Ft.$256.00

Pentax A10NO8MP38 - 114SD.8 232K15 Ft.$273.00

SonyCybershot DSCFX9NO6MP38 - 114MS Pro.8 230K9 Ft.$375.00

*Lowest Internet Quote

Retired portrait and wedding photographer.

is it still called stock photography

Is It Still Called Stock PhotographyWriten by Rohn Engh

Keeping up with the times...

Is It Still Called Stock Photography?

A century ago, magazines featured mostly text. Graphics were secondary. Today, it's reversed. If you include advertisements, our periodicals today feature more graphics than text. The new automated stock photo services (with Royalty-free photos that offer lower prices for photos), are providing quality generic images to publishers who previously couldn't afford photography as an option. As a result, new markets are now opening up for photographers who produce generic images.

The stock photo industry has finally come around to recognizing a previously largely neglected major marketing principle (one that we actually have been espousing here at PhotoSource International since our beginning). To wit: there's a vast market of photobuyers who are not interested in high-fee, RP (ights-protected) photos. They simply want an image they can temporarily use, one-time, in one of their low-circulation, limited-readership, publications.

Let me backtrack.

In the 1950's, there were few stock photo agencies. When I returned from a trip through Africa in 1958, I sought out an agency from the few listed in the Manhattan telephone directory. My photos landed at Photo Researchers, then a two-person, New York City hole-in-the-wall on 42nd Street. Photo Researchers is still there today.

The dozen or so managed-rights photo agencies of the '60's have increased to several hundred agencies today. In the late 80's this managed-rights stock industry was at its peak. Today it's still thriving, with a major impetus being the emergence of the massive corporate digital agency (Corbis, Getty, Jupiter Media, Index Stock Imagery, etc.). The smaller stock photo agencies are folding or being absorbed in mergers, or have resorted to specializing.

THE TRANSFORMATION

The Digital Era has transformed other major industries: communications, transportation, banking, plus the military and government. It was bound to transform our stock photo industry, and it has.

In the past, traditional managed rights stock agencies demanded very high fees for their images, and why not? They had the market all to themselves. There was no Kmart counter in the stock photo industry.

The formation of micro digital stock agencies has changed all this. These new companies are able to reach out to markets that couldn't afford the traditional high stock fees of the past. Using volume as their guide, rather than managed exclusivity, these digital agencies have proved that there was a sleeping market for their inexpensive on-line offerings.

This movement has opened a whole new market area for individual photographers whose files are filled with generic photos that, up to this point, have been going nowhere. Today, by using the power of automation, digital photo corporations are selling Royalty-free generic images for very low fees: $35, $15, and $1.

Do these lower fees deflate the market? We have seen in other industries that they do not. The textbook progression is that after a leveling out period, thanks to lower fees, the market actually expands. If you have an automated volume product at a lower fee, the bottom line usually improves. The consumer benefits, and so does the corporation. It's called free enterprise.

This marketing approach, of course, is what we have been espousing here at PhotoSource International since 1976 when we introduced our first marketletter, The PHOTOLETTER--still in existence today. Back then we observed there were thousands of small graphic houses, regional publishers, denominational houses, and small book publishers, whose budgets would not allow the use of $200, $300, or $3,000 images.

Many of our subscriber members, by concentrating on only a few specialized markets among these lower-budget buyers, found they could earn healthy incomes by selling to these markets in volume. Back in the 70's, these photographers in effect automated their selling methods and reduced administrative costs, much the way corporate digital stock houses have learned to do today.

The theme of my first book, Sell & ReSell Your Photos, emphasizes this approach. If the picture is good, more than one photobuyer is going to want to use it, when there's no cross-readership conflict and the price is within their budget. The early stock photography pioneers found it was a lot less stressful selling a photo 10 times at $75 to these lower budget editorial markets, than selling one picture at $750 in the high-pressure commercial arena.

- - - - - - - - -

WHAT IS EDITORIAL STOCK PHOTOGRAPHY?

You know what photography is, and you know what stock photography is -- yes?

Take another look. During the past couple of decades, an aspect of photography has been growing to where it is now planted firmly on the scene as a photographic division in its own right: editorial stock photography.

These are the photos of everyday slices-of-life, the insights into the human condition, the events and vignettes and moments you spot -- and then dive for your camera. Editorial stock photos show people involved, doing things; they feature specific geographical locations; they give a eal look at every aspect of human activity and the world of nature. As legendary Magnum photographer Elliot Erwitt has said, [Photos have got to tell you something that you haven't seen, or touch you in some way emotionally... As to his personal preference, he says, With regard to photography that I respect, my view is fairly narrow. I like things that have to do with what is real, elegant, well-presented and without excessive style. In other words, just fine observation.

Editorial stock photos are in contrast to commercial stock photos, the latter being the slick scenic and product shots, the gorgeous sunset, the healthy senior citizen couple bike-riding through autumn leaves, that we see in advertisements and commercial promotions.

Commercial stock photos have to conform to what sells. The commercial photographer must engineer the photos to fit into commercial clients' needs, trends in the industry, and to appeal to a wide, general audience. The resulting photos are often called generic images because they can fit a variety of uses.

Editorial stock photos are produced by a different approach. Rather than appeal to the commercial needs of a client, the editorial stock photographer follows his or her own interest areas, and targets certain segments of life and culture that they enjoy photographing. Examples: medicine and health, sports, social issues, travel, etc. The photographer then sells these photos to markets that use images in those specific subject areas.

Buyers in the commercial field include designers at graphic houses, corporate art directors, and ad agency creative directors. There's much turnover in these positions, so developing consistent working relationships with these markets is frustrating and difficult.

In the editorial field, the buyers range from photo editors at books and magazines, to photo researchers -- the people who are hired by publishers and art directors to seek out highly specific pictures. There's less turnover and more longevity with editorial buyers, and editorial stock photographers can enjoy strong long-term working relationships with their buyers, which translates to more consistent sales.

Rohn Engh is director of PhotoSource International and publisher of PhotoStockNotes. Pine Lake Farm, 1910 35th Road, Osceola, WI 54020 USA. Telephone: 1 800 624 0266 Fax: 1 715 248 7394. Web site: http://www.photosource.com.

digital photography and the printed world

Digital Photography and the Printed WorldWriten by Caitie Moore

Photo collections for traditional photographers the phrase conjures thoughts of bound albums and mounds of shoeboxes, stuffed to capacity with 5 x 7 inch pictures. For todays ever growing ranks of digital photographers however, it brings to mind thoughts of a stamp-sized memory card, a pocket hard drive, or CDs and DVDs. Welcome to the world of digital photography, which is fundamentally changing the way we capture and preserve images.


Digital photography today is a rapidly growing consumer pastime with many advantages versus traditional film-based cameras, including the ability to immediately review, erase, annotate or categorize images, speed and ease of operation, and quality at the high end of the digital photography scale. Although some film cameras can operate without batteries, minus the flash, most consumers are unconcerned with use in wet or poor weather environments and are drawn to digital cameras by all of the advantages that they offer.


Because of this, the entire photography industry is changing to embrace different consumer preferences, including a reduced desire for printed photos. The market for printed photos from film in the United States peaked in 2000 at over 30 billion, and then fell to under 26 billion by 2004. Initially, there were problems with quick-service photography shops cropping digital images in order to force them to print properly on the same paper used by film cameras as more and more people move to digital however, services and products emerge to make it easier to transfer your memories from electronic to tangible.


Some people feel that a picture just isnt a picture if you cant put it into a frame (although wireless, internet-enabled miniature LCD picture frames ARE available) or store it in a photo album. But many of todays young people are much more comfortable with technology than their parents and grandparents. It is not uncommon for a college student to feel more secure with electronic images than paper ones.


No one is certain whether digital photography will eventually reduce our demand for photo prints, but it is guaranteed that the way of the future in photography is digital. Additionally, there are far more snapshots being taken than ever before, due to the ease with which they can be reviewed and removed from digital cameras. So whether youre partial to electronic or shoebox image storage, be ready for photos to get easier, better and cheaper in coming years and of course, keep smiling.

Caitlin Moore is an avid photographer, and one the editors of dpdigest.com an informative website dedicated to digital photography, with extensive information about digital SLR cameras, memory cards, special effects filters and more.

digital photo printing

Digital Photo PrintingWriten by Ken Marlborough

Digital photo printing is the process of developing digital photos into prints. This technique has become popular owing to the fast development of the printing industry and the use of digital cameras.

There are three simple factors that contribute to high quality photos. The resolution produces good quality prints and must be kept between 200-300 DPI (dots per inch.)

You also need to use quality paper that should match printing requirements, and make sure your printer settings are adjusted properly. First, check the paper type option, then color settings and finally

2) Good paper

It is better to use a good photo paper. The stuff that printer manufacturers sell is better as they are made to match printing requirements, and finally make sure to preview the photos.

Digital photos undergo eventual deterioration as in the case of conventional photo prints. But the digital technique has an advantage over conventional photos. The images can always be reprinted if the older ones fade and will look exactly like the original. It is easy to store digital data on hard disks or compact disks.

Digital photo printing is done with the help of digital photo printers. Software such as PhotoCool is available to print photos from various sources such as digital cameras, scanners and disks. PrintSix, Photolightning and PhotoOne Print are other software.

Printing can be done either at home using an inkjet/laser printer, at the nearest store that offers printing or through online photo printers. There are a number of companies that offer online printing services. Most of the companies ask you to email them the images, and they deliver the printed photos by mail.

Digital Printing provides detailed information on Digital Printing, Digital Photo Printing, Digital Printing Companies, Online Digital Photo Printing and more. Digital Printing is affiliated with Public Relations Firms.

history of digital photography a snapshot over time

History Of Digital Photography - A Snapshot Over TimeWriten by Rika Susan

Where does the history of digital photography really start? Looking at various historical overviews, it quickly becomes clear that the starting point depends quite a bit on your point of view...
Digital cameras use image sensors instead of film to sample light. They do this thanks to the photoelectric effect in which some metals release electrons when exposed to light.
You could probably argue that Albert Einstein - who won the 1921 Nobel Prize in Physics for his work on the photoelectric effect - got the ball rolling in the history of digital photography!
Often incorporated into the history of digital photography, is the camera designed by Texas Instruments Inc. in 1972. However, this camera was not digital, but an analog-based, film-less device.
The next step in the history of digital photography came in 1972, when Steven Sasson of Kodak was instructed by his supervisor to try and find a way to build a camera using solid-state image sensors. These chips use photosensitive diodes called photosites to record light.
An important marker in the history of digital photography was when Sasson snapped the first digital picture in December 1975. According to Sasson the image took 23 seconds to record onto the cassette, and then another 23 seconds to read off a playback unit onto a television.
However, no consumer camera was released at that stage by the company. Later, in 1986, Kodak invented the world's first megapixel sensor, capable of recording 1.4 million pixels that could produce a 5x7-inch digital photo-quality print.
You can probably safely say that the history of digital photography indicates that the first prototype digital camera was the Mavica (Magnetic Video Camera), released by Sony Corporation in the early 1980's. This was essentially an electronic video camera that produced still images which were recorded on two-inch floppy disks.
The Mavica used a charge-coupled device (CCD), and the origins of the CCD can be traced back to October 1969. This was when George Smith and Willard Boyle, two of the role-players in the history of digital photography, invented the charge-coupled device at Bell Labs, where they were at the time attempting to create a new kind of semiconductor memory for computers.
The history of digital photography demonstrates that the CCD played quite a central role in the development of the digital camera. This technology is today also used in broadcasting, and in video applications that range from security monitoring to high-definition television. Facsimile machines, copying machines, image scanners, and bar code readers also make use of CCDs to turn light into useful information.
After the Mavica, it was only in 1994 that Apple introduced the first digital camera for consumers, another milestone in the history of digital photography.
The QuickTake 100 (this camera was co-developed with Kodak) worked with a home computer via a serial cable and featured a 640 x 480 pixel CCD. It could produce eight images stored in internal memory, and also featured a built-in flash.
Because of constraints around the size of the processor the QuickTake 100 looked more like a set of binoculars, but this soon changed. As the history of digital photography will show, modern digital cameras soon took on the familiar shape of film cameras.
All this technology was developed in little more than thirty years. Just imagine how the next few decades will shape subsequent installments of the history of digital photography!
For more information visit Best-Digital-Photography.com
Rika Susan of Article-Alert.com researches, writes, and publishes full-time on the Web. Copyright of this article: 2006 Rika Susan. This article may be reprinted if the resource box and hyperlinks are left intact.

canon ixus 800 is canon powershot sd700 is review

Canon IXUS 800 IS / Canon PowerShot SD700 IS ReviewWriten by Andy Needham

The Canon IXUS 800 IS presents a very stylish look. It has a metal body and the build quality of the camera appears to be good. In terms of features the camera is quite straightforward and is basically a point and shoot camera in a smart shell. In terms of size the IXUS 800 IS will fit into a good sized pocket, but it is just a little on the large size for me to consider it to be a true pocket sized camera. This is a six megapixel model.

Optical image stabilisation is the key feature. This is the first Canon IXUS model to include stabilisation. One of the reasons why image stabilisation is useful in a digital camera is because of the way these cameras are typically held when taking a picture. People tend to use the LCD screen to line up a shot. This causes them to hold the camera away from the body. It is much harder to keep the camera rock steady and the resultant movement can lead to blurred pictures. Image stabilisation can also come in handy for lowlight photos.

The camera has a 4x optical zoom lens. This is a step up from the 3x that is standard for this range. In my opinion when it comes to zoom every little helps.

Other noteworthy features include a large 2.5 LCD screen. The IXUS 800 IS is also one of the decreasing numbers of digital cameras to offer a viewfinder as an alternative method of lining up a shot. There are also a wide range of colour options. These include being able to swap colours and to show a single colour in an otherwise black and white photo.

The IXUS 800 IS also has an advanced movie mode. As well as being able to produce the standard TV quality movies there is also a special second mode. This allows you to take short one minute movies, but with a very fast frames per second speed. The fast recording speed then allows you to playback the movie in slow motion. This feature is popular with people who wish to analyze something like a golf swing.

As with other cameras in the Canon range I do not consider the IXUS 800 IS to be one of the easiest digital cameras to get to know. It can be used in fully automatic mode. Therefore you should have no problem clicking away and taking photos. If you want to dig deeper into the camera it takes a bit longer to find your way around then with other more simple brands such as Sony and Panasonic. It is worth it in the end though.

In terms of picture quality I was impressed with the test shots I managed to take. I regularly find that the images taken with Canon cameras are sharper than with other brands. The IXUS 800 IS confirms this and it is possible to take crisp photos with the camera. It also performed well indoors when the light was not so good. These conditions can cause digital cameras to struggle, but I consider the IXUS 800 IS to be one of the better bets in lowlight. I should point out though that I did have a problem with red eye in portrait shots when I needed to use the flash.

If you are looking for a good quality camera then I am happy to recommend the Canon IXUS 800 IS. In my view it is a clear step up from many of its rivals. It does not come cheap though and it sells at a premium to just about every other digital camera in its class.

This article was provided by Andy Needham of http://www.cameras.co.uk/. Cameras.co.uk provides digital camera reviews, price comparisons and general help for buying digital cameras. There is also a special section where you can ask a question if you would like further help.

For a more detailed review of the camera and to see some sample images please visit http://www.cameras.co.uk/camera-reviews/canon-ixus-800-is.cfm

digital fine art

Digital Fine ArtWriten by Peter Emerson

You may not realize it, but digital art is the kind of art you are most exposed to. Computers and digital media improve our lives and our creativity in manners that we would never have thought possible only a few years ago. Some modern art experts say that digital fine art is a natural evolutionary result of the progression of human technology, and that it should be recognized as a vital cultural phenomenon.

Just like any art form, digital fine art is created by three factors: artist inspiration, technique and presentation. All the traditional artistic techniques still apply to digital art techniques such as perspective, light, shadow and expression.

The greatest achievements of digital fine art

Perhaps the most significant impact digital art has made so far is its ability to create three-dimensional (3D) images in a few clicks. This technology paved the way for advancements in the field of digital design and applied digital sciences (as in robotics).

And, because a there are many different software and hardware tools to aid both digital fine art designers and regular users, digital art is the most accessible art form. Everyone can learn how to manipulate form, shade, space, color, movement, texture, shadow, light, transparency, radiance, luminosity and reflection to create ingenious digital fine art.

Some misconceptions

Contrary to popular belief, digital art is serious art in a sense that the artists are just as creative as artists who use more traditional methods. The computer does not compose and create art by itself it is still the artist who uses virtual brushes and paints to produce one-of-a-kind artwork.

The future of digital fine art

You can expect to see more elaborate, digital fine art in the future as artists organizations take steps to gain more publicity and launch their artworks. The move to get art enthusiasts to take digital art more seriously is likely going to progress and succeed. It wont be long before digital fine art is traded in high end auction houses. Although the image of digital art on a computer screen can be stunning, the digital fine art print is a collectible artifact that can be appreciated on a very personal level and treasured for a lifetime.

Digital Art provides detailed information on Digital Art, Digital Fine Art, Digital Art Schools, 3D Digital Art and more. Digital Art is affiliated with Digital Prints.

photography the grooms style

Photography - The Groom's StyleWriten by Michael Russell

While the Bride's portrait is usually bathed in soft light, or has an almost mystical quality about it, the classic shot of the groom is one that's more defined and has a somewhat darker tone. The photograph certainly shouldn't be hard or moody and it should be a reflection of the man's character. Too many photographs of the groom are heads and shoulders, with a broad smile or caricatured, serious look that more often than not resembles a grimace. Aim for a natural look and be aware of the small detail that go into the making of any formal portrait.

Because the groom's clothes are much 'straighter' than the bride's and can't be fluffed out to create paths of design and light, you'll have to be much more conscious of how the lines of the jacket, vest, or waistband fall. Watch for the jacket riding up over the shirt collar and make sure the cuffs of the shirt come out from the sleeves of the coat. Even though facial expression in the shot might be great, a portrait can be badly hurt by your missing any of these seemingly inconsequential details.

It's rare to see or sell a full-length formal of the groom, so concentrate on medium distance shots. Using a lighting set-up similar to the one for the bridal portrait you can have the groom lean in slightly, one foot on a stool and an arm resting on the knee, with the other hand in a pocket. Remember to watch for lines by making sure that the groom's shoulders aren't parallel to the top of the frame and have the head turned to one side or the other so the shot doesn't look like a wanted poster.

It's ok for the groom to have one or both hands in his pockets as long as the hands fit. Some formal wear is very tight or just has decorative pockets, so hands may seem bulky if shoe horned in. If the hands are left out of the pockets, do something with them. Putting hand in hand is better than interlacing fingers. You can also have a thumb hitched into a pocket or belt, creating a jauntier pose.

Many men's portraits seem stilted when compared to those of women. This may be caused by the photographer and subject feeling as if they are trapped into portraying the 'male image.' Go with your feeling about the individual and don't get caught out in stereotypes. This will make your subject more comfortable and allow you to make a more honest photograph. Look for motion, movement of lines and dynamism as ways to break any stiff, visual looks. Once the subject has posed himself, or you've helped him find a comfortable position, request an extra lean-in towards the camera. This extension does wonders for male portraits.

Use your judgment about diffusers with the groom because some benefit by its use and some don't. Though these filters aren't in general used for pictures of the groom alone, they can help create an idealized rendition of the subject. Smiling is not against the law in the portrait of the bride or groom. The demeanor of the groom's portrait needn't be serious or moody. His warmth and flow are what you should aim to bring out.

Michael Russell
Your Independent guide to Photography

what is depth of field beginning photography basics

What is Depth of Field - Beginning Photography BasicsWriten by Chip Clark

At some point all beginning photographers are confronted with certain technical aspects of photography that have them either burning up rolls of film, or loading up memory cards! Two in particular: Exposure (which will be addressed in a different article) and Depth of Field (or DOF) leave the newly shutterbug bitten novice shaking their head, wondering what they are doing wrong.

When I first started taking on an informal teaching role with beginning photographers it was interesting that the single most common question asked by them was: How do I make the background blurry and my subject sharp? and of course, what do I need to do when I want everything in focus?

It's inevitable. If you desire to take your photography to a higher level of quality, you will need to understand what causes short and long depths of field, and especially how to manipulate it to express your vision. Let's get started...

First - what is a photograph with a short Depth of Field, and what is one with a long DOF? Quite simply, a photograph with only the subject in focus, and everything before and behind it blurry, is a photograph with a short DOF. An image with everything in the foreground to the background sharp and in focus has a long DOF. With this highly sophisticated formula I'm sure you can figure out what a medium DOF is!

Why use a short DOF? When you reach this level of being able to control exactly what you want in focus (typically referred to as Selective Focus) in your photograph you will have developed a dynamic tool that will create powerful photographs! You will see this used extensively in photojournalism - such as the photographer focusing on one particular individual in a crowd of people. Creative use of this tool certainly gives sustenance to the term: A picture paints a thousand words!

Quite often you will see the use of a short DOF in glamour portraiture. A classic example is when you see the model's eye closest to the lens sharply focused, and the one furthest is blurred. It's one of the most unique techniques a photographer can utilize to convey her or his message.

What about a long DOF? Landscape photography is the best example of the long Depth of Field in use. Shooting images of seemingly endless vistas would render a photograph worthless if only a small portion of the 'field' was in focus. Since you want virtually everything from closest to farthest tack sharp - you will want to shoot with a long DOF. You can see this utilized with incredible results in the works of the greatest fine art photographers such as Ansel Adams and Edward Weston. But even when making photographs of spectacular scenes, there will be times when your creative vision will want to focus attention on a tiny, fragile flower amidst nature's grandest formations. Developing these techniques will arm you with that kind of photographic versatility.

So now that you understand what DOF is, how do you make it work? This is where we begin to get a bit technical, but it's important you understand it. Since DOF will vary depending on the focal length lens you are using, my examples will be in regards to using a normal SLR lens in the 45mm - 70mm range. To be able to manipulate DOF you must be able to adjust the aperture (or F-stops) on your camera. Most all SLR cameras that are even remotely modern can do this by switching your mode to Aperture Priority mode - or AV mode.

While I will not give a detailed explanation about aperture in this article - the simplest way to understand is this: An F-stop is the adjustable opening that controls how much light coming through your lens hits the film or digital sensor. The shutter speed is involved with this as well, but for now let's stick with aperture. The F-stop also controls the DOF of an image.

Older SLR camera lenses typically have the F-stop numbers on the lens barrel. An older very basic lens may have numbers around the aperture ring like: 2.8 - 5.6 - 8 - 11 - 16 - 22. These are the F-stops, or the aperture opening settings.

More modern cameras are electronic and the F-stops are usually seen at the bottom of the viewfinder. Contemporary lenses usually have more F-stop settings available, such as: 2.8 - 3.5 - 5.6 - 6.3 - 7.1 - 8 - and so forth, possibly all the way up to 32.

To choose the DOF you wish to use for a particular shot you need to understand this very basic concept: The lower the F-stop number - such as 2.8, the shorter your DOF will be. The higher the F-stop number - 22, the longer the depth of field. To simplify it further - making a photograph with F22 or higher is going to have everything in the final image in focus. Shooting with the aperture set at 2.8 is going to mean that only what you specifically focused on is going to sharp.

Take a moment to absorb this because this basic concept is the nuts and bolts of creating a quality photograph, rather than just taking a picture. The very best exercise you can do to practice this technique is to line up 3 objects - such as apples. Place them on a table about 2' apart lined up going away from you at just enough of an angle so the first one isn't blocking the other two. Place your camera about 3' from the first one, and focus on the apple in the middle. Shoot several shots - each one at a different f-stop, starting with the lowest number (short DOF) and changing to the next higher f-stop after each shot...all the way to the highest F-stop.

If your lens has an F-stop number as low as 2.8 you will see that maybe only the forward surface of the apple is in focus - everything from closest to furthest is gradually very blurry. With each shot changed to a higher F-stop number you will see more of the field in focus. By the time you get to the highest F-stop setting, virtually everything in the photo will be sharp and focused.

Most SLR cameras have a DOF Preview Button. If you use it while looking through the lens at your scene - you will see what the final image will look like. Only problem is - the higher the F-stop number is, the smaller the amount of light is let in. So it can be very difficult to see because it will be very dark. After practicing with these techniques you will not bother with the DOF preview button. You will know how the image will be reproduced.

That is the mystery of Depth of Field in a nutshell! Yes, there is more in-depth aspects of DOF - such as understanding Hyper Focal Distance, and of course knowing that you will get different DOF results with longer and shorter focal length lenses. But understanding these basic DOF concepts will revolutionize your photography, and give you one more step up in photographic quality.

Chip Clark is a San Diego based professional photographer, with over 20 years experience in landscape photography, wildlife photography, sports photography, and portraiture.

Chip Clark's photography tutorials are available at http://www.chipclarkphotography.com/advanced-techniques-for-beginning-photographers-PL.htm

Publishing and reprint rights are granted solely according to the guidelines set forth by Ezinearticles.com.