Absolute Beginner's Guide to Digital Photography. Pages·· The Portrait Landscapes Photography Book and Landscapes Photography Book. For camera guides and other digital photography books, visit the Short. Courses fully searchable PDF eTexts™ that can be displayed on any computer using. ISBN: (PDF) by students of my Creative Digital Photography The book is intended for anyone interested in taking the next step in their.
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Photographer Julie Adair King is the author of several popular books about digital Her most recent titles include Digital Photography For. Dummies, Photo . Explore 吉如 林's board "The Digital Photography Book free pdf download" on Pinterest. | See more ideas about Digital Photography, Photography books and Pdf. [ iv ]. The Digital Photography Book, Part 1. Acknowledgments. Although only one name appears on the spine of this book, it takes a team of dedicated and.
It's one of those books I would like to have on hand to h This guys writing will drive you nuts at the beginning because he is constantly joking. It's one of those books I would like to have on hand to have as a reference or learning companion as I continue to progress in digital photography. Extremely helpful. I would recommend this book to beginners or anyone who doesn't have a clue when it comes to lighting, how far you should stand from your subject, what height to shoot from, or if you want to learn professional techniques.
I would not recommend this book to professionals--you can have the complicated-wording books. I have been shooting my pictures in auto and without a tripod for way too long. I have a basic understanding of photoshop, but I was ready to begin understanding my Nikon, and stop shooting in auto or a preset.
This book got me hooked, I have a better understanding of aperture, shutterspeed, ISO, and white balance--as well as a better understanding of all of the "tools" out there to use. This can be as simple as sending interesting articles about intersections between our industries articles in Photo District News or Advertising Age , clipping newspaper comics that are relevant to their industries, or pointing them to interesting webcasts.
It can escalate to monthly lunches where you meet and discuss big issues, present fun new work, and generally get to know your client as an individual.
Anthropological research has shown time and time again that sharing food creates bonds between humans. This can be especially important with clients who are constrained by their companies to solicit competitive bids.
In a surprising number of cases you will build genuine friendships that will last over the long course of your career. Go into every negotiation looking for ways to sell your vision or style without alienating those you should be collaborating with. If you feel you are always right or that you always have the best solution for every project, you need to take a few moments to consider that you may be wrong! In the past, I would have vehemently argued my position in many instances.
I have since learned to listen first for all the details. I have a little note attached to my computer. It has helped me retain many clients over the years and has helped me to generate more profits. The most important single thing you need to get across to your clients is that you bring a unique vision and a unique set of attributes to your projects. If you compete just on price and you offer the same styles and types of images as everyone else, your potential clients will be inclined to look at all photographers as commodities.
When a product or service becomes a commodity an interchangeable product like wheat or machine screws the clients immediately reduce the parameters of their selection process to price. You must have powerful differentiators that add value to your photography for clients. Only then will you succeed financially. You might even make some nice friends.
Shot for a story on BBQ that ran in Tribeza magazine. Editorial photography provides the opportunity to try new creative approaches. This was done with two offcamera, battery-powered flashes. Selling Images or Licensing Usage Rights? Take the example of the wedding photographer. His choices are much like the difference between an all-you-can-eat buffet restaurant and a fine dining establishment. In the first restaurant your customers pay a fixed price at the door and then pile their plates high.
Commercial Photography Handbook: Business Techniques for Professional Digital Photographers
Every return through the buffet line is money down the drain for you. When you consider that most allyou-can-eat restaurants exist near the bottom of the restaurant food chain and that their profit margins are painfully thin, you can see that this pricing model can be quite precarious. Each product is priced separately. Each product comes with its own profit margin. At each point in the dinner experience the fine dining restaurant has the potential to increase sales and generate profit.
The fine dining restaurant has to consistently make a much more compelling creative product, and it has to communicate the extra value of the creative product to the correct target market of consumers. The easiest way to stay in business? Attract highly affluent clients who crave a unique and creative approach to the product or service in question and allow them to add more and more products to create more and more profit.
It is exactly the same in photography. The top of the list for products is design, followed by features. Design and features are the reasons people paid a premium for products such as iPhones and iPods from Apple.
Style and reputation are the reasons people flock to wedding photographers like Denis Reggie and Hanson Fong. Consumers want, and are willing to pay for, the styles they like.
Once you market based on just about anything else, like price, you become a commodity. When you become a commodity the con- Below—This image series was used in print ads and mailers for a high-end lakefront condominium project. The creative director and I scouted the project beforehand and planned each shot in detail. Developers depend on great photography to help sell multimillion-dollar properties.
Getting good food shots during regular dinner service requires making quick decisions as well as an ability to previsualize the effects of your lighting. The successful wedding photographer charges a fee for the creation of his images and extra fees for the various uses of his images. An album filled with photographs commands a certain price. Prints command an additional price. The same images can be sold over and over again to guests and families online via Pictage, Photo Reflect, or Smugmug. Over time the passive income from additional products usages can be like the passive income of stock dividends, with fat checks arriving regularly.
I often meet for coffee with a professional portrait photographer. His sitting fees are around the average for our market in Austin, but his print prices which 16 Commercial Photography Handbook reflect his Photoshop skills and his skilled use of very high resolution cameras, as well as his social connections and location are quite a bit higher. His average sitting lasts an hour or two.
At the other end of the spectrum is a local photographer who sells his work by taking images with his modest digital camera and then putting JPEGs on a disc. He wants to give the images to the client and never see that pesky client again. What a difference. In the advertising business there is a great deal of pressure to sign work-for-hire agreements, which give a client all the photographs you create and an unrestricted right to use them wherever he or she wants, with no additional payment to you.
The client would even have the right to sell the images as stock to anyone in the market. Think philosophically about the ramifications of your business creating content for the business model that makes yours irrelevant!
For more information about pricing and licensing models you should look at the materials on the subject that are available on the American Society of Media Photographers ASMP web site: www.
Also, check the books recommended in the resource chapter at the end of this book. There are a number of protocols that transcend every industry. Most of these should be basic common sense.
The problem is that these kinds of best practices are taught in business schools but not in many photography programs. Here are the three best practices as they relate to photography as a business: Have a Signed Contract. First, always have a signed contract between photographer and client before you start any project. A contract is not an adversarial document; rather, it is a summary of all the things you covered in your negotiations leading up to being offered a project.
It should cover the basics: What is the service you will be delivering? What are Below—These two images were shot as part of a campaign for the Greater Austin Chamber of Commerce in preparation for a high-tech trade show. The images were used in a multi-panel mailer and also for large display panels. What rights are you licensing? How much will you be paid for your production and for the rights you are licensing?
When and how will you be paid? Every time there is a change to the project e.
These forms need not be complex. In fact, most problems that arise between clients and suppliers have nothing to do with dishonesty or failure to perform; they arise because, by the very nature of most verbal agreements, each party remembers the agreement differently.
A good, simple contract keeps everyone on the same page and gives you a reference to return to time and again. So, with a contract issued, every parameter of the job and the expectations of both parties are spelled out in enough detail to prevent ambiguity, and both parties get a signed copy.
In the United States, all people have the right to control the use of their own likeness in any and all commercial applications. This guarantees that every noncelebrity has a solid right to privacy. There are exceptions.
If you work for a newspaper, magazine, or other editorial outlet that informs the public, you can use a newsworthy photo in that outlet without a release. There are exceptions to the editorial exemption. If you take a photograph of someone in a place where they have reasonable expectation of privacy, you might not be able to make the editorial argument stick. Example: A stripper slapping the mayor of your city at a restaurant open to the public is fair game.
A stripper in the stall of a bathroom is not fair game! The basic rule of thumb is always unless you are covering hard news to get a model release. A model release can be a simple document like the one on the facing page you can pick these up in most photography stores , or it can be very complex.
Most professional models and actors who are represented by agencies will provide their own releases, which carefully explain what rights are being licensed and for how long. If a model or actor is professionally represented, they will generally refuse to sign any release other than one prepared by their agent.
This protects them from unanticipated uses that might damage their careers either by overexposing them or from competing uses. All negatives and positives, together with the prints, shall constitute your property, solely and completely.
Down the road she is discovered for the incredible talent that she is, and a large company decides to use her as a spokesperson. Therefore, they pass on the first model and start the search all over again. I think blanket releases without very healthy financial compensation are morally wrong, though models and photographers use them all the time.
I go back to the idea of a creative team being a collaborative model. I like to have models sign releases for specific uses. If new uses arise, I think models and other talent should have the right to share in the results of our collaborative efforts. Mine is not a mainstream viewpoint. Most photographers insist on a blanket release.
But whether you agree with me or not about the exploitation of models, you should be certain about one thing: If you ever intend to sell any usages to a photograph with an identifiable person, you must get a signed model release. In the same vein, any identifiable property house, office, farm, distinct wagon, etc. This applies if you are using a single property as a part of your composition.
If you have included the skyline of a city you are okay without a release. She lived just a few blocks from the Whole Foods flagship store and we secured permission to photograph her there shopping.
Keep Your Copyright. The third holy rule is this: Only sell your copyright or sign a work-for-hire agreement if the client offers you so much money that you might never have to work again.
Book Support – Complete Digital Photography, 9th Edition
It is based on the idea, ratified by the U. The owner may decide exactly how he or she wants to profit from the products of their brilliant creative work.
The fairest way is to decide what value each use of an image has and to price those uses accordingly. Obviously, a local, one-shop retailer placing an ad in a local newspaper will derive a smaller amount of value than the same ad in a national or international news- paper or magazine. Without the right photograph the ad will likely be a waste of time and money for the retailer.
He has a vested interest in downloading the rights to a good enough image to reasonably ensure a good return on his advertising investment. Since it is a local use you would be able to resell the image in noncompeting markets the very next day. The retailer wins because he gets a great image at a reasonable price. So the image has an absolute price tag, right? Its value is measured in relation to the scope of the usage. In the second example, with the large retail chain advertising internationally, the client expects a reasonable return for their marketing efforts.
The Below—During the s, the semiconductor industry ploughed billions of dollars into infrastructure and liked to show it off. Its value increases dramatically because the reach of the media download is so extensive.
If the client really wants your image perhaps it tests very well with a focus group , the client will weigh whatever price you negotiate against the cost of producing a similar image from scratch, but without the assurance that the resulting images will, in fact, be as good as the one they now have in hand. You walk away with a ton of money, keeping ownership of the image for future, noncompeting sales, and your client launches their breakthrough campaign with their new, signature image.
And of course, if you did sign the workfor-hire agreement, the magazine could turn right around and license your image to another client without paying you a cent.
It should. The licensing model has been a best practice in the commercial photography industry for decades!
See a Problem?
This is a simple image done for a magazine assignment, but it could be sold to the restaurant, the purveyor of the natural beef, and conceivably even to the maker of the range that is out of focus in the background—but only if you have rights to the image! C ommercial photography encompasses a wide variety of specializations that include product photography and still lifes, lifestyle images of people for advertising, architectural photography, fashion, and even retail photography which is mainly concerned with producing wedding coverage and portraits for families and other, nonbusiness uses.
Event photography and my favorite specialty, corporate photography, are also included. You can do a little bit of everything or you can specialize in one of these disciplines.
In larger markets where there are many clients available it is both common sense and good business practice to brand yourself as a specialist in something. But be careful, because the discipline in which you choose to brand yourself will be the one that clients pigeonhole you into for all time.
Their clients are generally large architecture firms who hire photographers to document their best projects for advertising and public relations.
Secondary clients would include the owners of the building who would use the images in advertising aimed at prospective tenants, the contractors who did the actual physical work on the projects, and the subcontractors who provided tile work, floor coverings, furnishings, and lighting design. Additional markets for the images of commercial buildings would also be shelter and design magazines such as Architectural Digest, Luxe, and others. When photographing residential properties, clients would also include the final owners and local shelter and lifestyle magazines.
With so many potential participants in every architectural project, it makes absolutely no sense to sign any sort of work-for-hire agreement that might limit your ability to profit from your photographic taste and expertise.
The Digital Photography Book (2nd ed.)
Architectural photographers who are working at the top of their game have a skill set that is unique. They need to be well versed in new styles and trends in architecture and design, and they need to be able to bring good taste to bear in styling the interiors they will photograph. These aesthetic skills are above and beyond the ability to render a technically accurate image. Though some photographers still make use of flexible 4x5-inch film view cameras, the vast majority have switched to using digital cameras for their work.
This is always a plus for architectural shooters as they need to render as much detail as possible. If you are a Nikon user, take heart. He is currently considered one of the top architectural shooters in the United States. In his work, technique though he is a master is secondary to the implementation of clean design and a point of view informed by a deep understanding of art history.
Left—Paul Bardagjy is not your ordinary architectural photographer. Paul studied design and art history before coming to photography. Now working with high resolution Canon cameras, his clients come to him for his point of view and an intuition informed by world travel and a sense of modern style.
Below—Stairway detail. It has dedicated sections on explaining the use of flash outdoors and how to achieve great results, all in an easy to understand language. How to Take Stunning Food Photos If you like food photography, this eBook will prove to be a valuable resource for you.
From lighting considerations to composition suggestions, a lot has been covered in this book to get you started. According to the book, there are essentially two things that make a stunning food photo — appropriate exposure and a thoughtful composition.
For more tips, download the eBook!
Keep this in hand and give this a read whenever you feel uninspired, or want something to read while on the bus or subway. Lighting , by Strobist The ever popular online lessons on lighting in photography, Lighting , can be downloaded as a single file for a handy reference.
It will teach you everything about lighting — lighting equipment, artificial lighting, balancing it with natural light, lighting patterns and many more tricks. If you are looking for an in-depth primer on lighting, Lighting will be a great place to start.
Nine Motivational Essays on Photography, by Scott Bourne As photographers, we periodically experience a creative block that leaves us unmotivated. These nine essays tackle the issues of photographic motivation, creative rut, and getting photographic inspiration in different ways.
A must-read for all photographers. The Ultimate Guide to Starting Your Photography Business If you are looking to start a photography business but have no idea how to go about it, this eBook will be a great place to start. With advice from experts who share real life knowledge, you will learn how to focus your niche, market your work, lock in clients, and manage your finances. Everything is explained in a manner that is easy to understand.It has helped me retain many clients over the years and has helped me to generate more profits.
As photographers, we periodically experience a creative block that leaves us unmotivated.
Keep this in hand and give this a read whenever you feel uninspired, or want something to read while on the bus or subway. It is illegal to share it or even load it on another machine concurrently unless you download additional licenses. It might be tougher going in Des Moines or Tulsa. Style and reputation are the reasons people flock to wedding photographers like Denis Reggie and Hanson Fong.
The Digital Photography Book, Part 5: Photo Recipes
I often meet for coffee with a professional portrait photographer. Even with the advent of better films and equipment, photography required a fair amount of technical skill and know-how right up through the s.
Its value is measured in relation to the scope of the usage. This led to a great demand for news, advertising, and Preface 7 Top—Late nineteenth-century paper print made by contact printing.
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