I’ve found that many software companies time their new releases for late at night in the United States. That’s lunchtime here in Taiwan. So when I learned over lunch, via Twitter, that Adobe Lightroom 3 had been released, I immediately went to the Adobe site to buy my copy.
High dynamic range imaging, or HDR, is a technique through which three or more photographs of different exposures are merged to create a single image that displays a greater dynamic range of luminance, characterized by more shadow and highlight detail.
When I walked into the museum in Boca Raton, Fla., the first thing I noticed were the signs warning visitors not to take photographs, and instructing us to check our cameras at the entrance.
I had my Leica and two lenses with me and had no interest in checking them, so I tucked my camera in my bag, bought a ticket and began wandering about the place.
James Cavanaugh recently posed this question to members of LinkedIn’s ASMP group: “A client wants you to create photographs that they can use on social sites so they can ‘go viral’ to promote their company. It means potentially countless people may use your copyrighted work. How would you approach such a request?”
Photography, like most industries affected by a center of gravity shift to digital, has seen more than a migration from film to data packets. It has also experienced fundamental shifts in how publishers select images.
The monk surveyed the tall buildings, focusing his binoculars on every little movement. Who was doing the shooting? Where would the bullets come from next?
I photographed him nervously, certain that any sniper seeing a Westerner would immediately pick me as a target.
One of the characteristics of a strong composition is that it tells your audience your intention in making a photograph. If someone has to ask you what it is you are trying to show them, that’s one question too many.
Most photographers know to be patient in waiting for the right moment to get a shot. But we don’t all realize the value of being patient with ourselves.
I’ll give you a couple examples of what I’m talking about.
Most of my students in the School of Journalism and Mass Communications at the University of South Carolina are consummate multitaskers.
They came of age as the Internet was hitting its stride, as devices such as MP3 players and smart phones became ubiquitous, and as multimedia on the Web began to replace print journalism as their primary source of information.
A colleague specializing in travel photography recently asked me about my photography projects. I told him that one of my projects was designing and producing all the communication materials for an art exhibit: catalogues, posters, street banners, mail invitations, video, viral communication, and — oh yes — photography.
As I unpacked my gear at a recent photo shoot for a local publication, I suddenly flew into panic mode: I realized I had left my card wallet on my workstation 30 minutes away.
Then I remembered that I had a 2GB compact flash card in my glove compartment. I took a deep breath as a relieved smile spread across my face.
A Russian photographer recently asked me what subjects he should shoot for microstock in order to maximize his earnings. He said: “I’m thinking cosmetics, photos of girls putting on makeup, girls and guys on the beach, girls in business suits with laptops, glamour club shots of girls in glam clothes, sometimes near crystal disco balls, modern dancers…”
In this installment of “Ask the Photo Business Coach,” I answer the following question submitted by a Black Star Rising reader: “After a prospective client shows interest, what’s the best way to close the deal?” I shot this video in Red Rock Canyon, so I apologize for the wind!
Many years ago, when I was having trouble finding my path as a photographer, I asked my friend, the Canadian photographer John Max, for some guidance.
Time Inc., the biggest publisher of magazines in the world, recently made an agreement with the AP, Reuters and Getty Images to license any and all non-exclusive images at a flat rate of $50, regardless of size or placement. This means that magazines like Time, Fortune and Sports Illustrated — which used to pay $200 or more for a 1/4 page — will now have the same images for $50.
Is it time to institute a system of floor prices for the use of rights-managed images for editorial purposes? Is there any price so low — $50, $30 or $20 — that the image creator would prefer not to make the sale?
Last month, I was fortunate to receive a Certificate of Special Merit at the Human Rights Press Awards from the Foreign Correspondents’ Club and Amnesty International in Hong Kong. I won the award based on the publication of images in a Black Star Rising piece on Chinese coal miners.
The results of a massive four-year photography project are on display through Jan. 9, 2011, at the South Carolina State Museum in Columbia. Called “Palmetto Portraits,” the exhibition features the work of 24 photographers who have created 275 color and black-and-white portraits of residents of the Palmetto State.
In this post in my video series on survival strategies for photographers, I explain why I offer printed products to my customers to earn more while presenting my business in the best light.
All of us at one time or another ask the same question: “Is my life meaningful?”
We fear the thought of an existence that starts on a birthday we celebrate year after year until we perish, leaving seemingly nothing behind. We struggle to find meaning in everything we do, however trivial.
In this month’s “Ask the Photo Business Coach,” I answer the following question submitted by a Black Star Rising reader: “Should I put my pricing on my Web site to attract more clients?”
Two months of anti-government street protests continued today in Bangkok, as more and more photojournalists have arrived from around the world to capture the story in images.
In this post in my video series on survival strategies for photographers, I offer a few tips for using Facebook as a low-cost marketing tool for your photography business.
I am tired of seeing rights-managed sellers refer to microstock as $1 images. That is not what most people are paying, particularly those personal users who buy very few pictures.
Actual prices are substantially higher, even for the smallest, Web-use only file sizes.
It’s the end of the semester. As usual, when I reflect on the past 14 weeks, I’m left with more questions than answers. In this column, I will cover some of the issues that I have been thinking about as an instructor in the University of South Carolina’s School of Journalism and Mass Communication.