Pro Photographers's topics - tribe.net

work for free?

abjectphoto — Sat, 31 Oct 2009 02:25:33 GMT

funny video

http://www.aphotoeditor.com/2009/10/22/editor-vs-photographer/

posted in Pro Photographers - 1 reply

what to charge and interesting links on billing, estimates and bidding

abjectphoto — Fri, 25 Sep 2009 00:17:46 GMT

Interesting threads on advertising billing and estimates and bidding

http://www.aphotoeditor.com/2009/08/25/how-do-you-decide-what-to-charge/

http://www.aphotoeditor.com/2009/08/27/what-to-charge-advertising-photography/

http://www.aphotoeditor.com/2009/09/08/suzanne-sease-estimating-an-advertising-shoot/

http://www.aphotoeditor.com/2009/09/17/questions-for-art-buyersproducers-you-got-any/

http://www.aphotoeditor.com/2009/09/11/advertising-estimates-regional/

http://www.aphotoeditor.com/2009/09/10/advertising-shoot-estimates-national/

posted in Pro Photographers - 0 replies

Need to prove to client the 5d will work for their job......

Sam Ann Tha — Mon, 23 Jun 2008 04:06:43 GMT

I KNOW the 5d is more than enough for this particular clients, job, but where may I find a reliable written resource that doesn't sound like a commercial? I can't go to canon because they will try to push the mark 2 or 3. the 5d has a newer chip than the mark2. but ho do I prove to the client it will work?

posted in Pro Photographers - 1 reply

Introduction

kenjustice — Tue, 10 Jun 2008 06:55:25 GMT

Hello all,

I'm Konstantin, the new moderator. I hope to fill the shoes nevets left for me, help the community grow and flourish as best I can.

Some of you already know me, but for those of you who don't here's a bit of ancient history. I've been shooting for over 20 years, started my commercial photography business as soon as I got back from Brooks Institute of Photography. I mainly shot product and architectural interiors, some portraits. In the mid 90's I segued my career from photography to retouching, which I have been doing ever since, 14 years of Photoshop. At the same time that I started retouching, I started shooting fine-art B&W. Just recently I have decided to go back to being a full-time advertising photographer, so I sold my film cameras, beefed up the DSLR system, got a set of strobes again. My goal is to take the next 12 months to shoot a completely new portfolio of personal work before seeking representation.

I would also like to welcome some new members who have been waiting for a while for approval.

posted in Pro Photographers - 1 reply

Need new Moderator

nevets — Mon, 02 Jun 2008 21:42:33 GMT

Hi Gang,

It appears I don't have the time I used to have to spend on Tribe. I'd like to find a new moderator for this group.

Interested parties please send me a private message here on Tribe and we'll get it figured out.

-steve

posted in Pro Photographers - 2 replies

Picture people

abjectphoto — Thu, 14 Feb 2008 00:11:38 GMT

http://www.picturepeople.com/products/color.asp?m_1=1&m_2=2&m_3=0&f=

How can we(pros) compete against this? please come up with a reason why one could explain to the general public why your services is better.

I think this cheapens the pro-portrait photography business and makes custom pro work a MaC Donaldizied corporate one type style fits all approach.

posted in Pro Photographers - 7 replies

Photography as Art

Glen — Mon, 28 Apr 2008 03:17:59 GMT

After 17 years as a commercial photographer I have decided to stop complaining about the decline in photography as an art form and do something about it. Beginning June 7 I will begin hosting experiential photography Treks in the SF bay area and throughout Northern California. The Treks will teach the art of mindfully designing a great photograph. For more information please visit
http://www.nccenterphotoarts.com

Hope that you will join me - should be very informative and great fun.
Thanks... Glen

Northern California Center for the Photographic Arts
Dedicated to Teach, to Create and to Preserve the Art of Photography

posted in Pro Photographers - 0 replies

need photo help in Philly this Friday

Sam Ann Tha — Tue, 18 Mar 2008 16:56:51 GMT

needed: hair stylist & make up person who want good images for their portfolio. Will give digital files after retouched. also need either volunteer photo assistant (who needs more time on set) or cheap on (who needs more time on set. Shoot is this Friday in Philly. please contact me directly at samiamfoto@yahoo.com (or if you know my more regular email contact me on that====I don't like putting my regular email addy in postings now as it shows up on google searches too often :(

posted in Pro Photographers - 0 replies

interesting NYTimes article on homeowner imageries

abjectphoto — Sun, 24 Feb 2008 19:50:28 GMT

http://www.nytimes.com/2008/02/21/garden/21portrait.html?ref=style

posted in Pro Photographers - 0 replies

Managing ever-growing collection of DVDs

Karen — Sun, 19 Aug 2007 04:58:53 GMT

Besides backing up my images to externals, I typically burn a DVD of all my raw images (and sometimes the finals) as soon as I finish a shoot. So my collection is becoming huge. I have been using boxes but I am not happy with that as a storage method. Are there really cool, archival ways to store all of them, other than using archival sleeves in binders (which would work, but it seems like there might be a more-optimal way)?
TIA for your help.

posted in Pro Photographers - 2 replies

San Francisco pics

chrissyweber — Mon, 03 Sep 2007 09:04:30 GMT

Finally got around to adding the San Francisco photos from last year on my Flickr page. Take a look . . . www.flickr.com/photos/christinaweber

I've also posted some more new/old beach, baby, and black & white stuff on there, too, for some extra eye candy.

I appreciate your comments and feedback, and thanks for looking!

posted in Pro Photographers - 0 replies

Cool nighttime photography

sueshi — Mon, 20 Aug 2007 18:17:15 GMT

http://www.lostamerica.com/roadside.html

Be sure to look at the other categories too.

posted in Pro Photographers - 1 reply

have a look

Sat, 23 Jun 2007 20:43:25 GMT

hi! here are some of my photos...

www.jonzest.photostockplus.com

i am curious as to what pics grab you the most from this batch and why? i love feedback, it helps me a great deel. feel free to coment.

regards
jon

posted in Pro Photographers - 1 reply

joining a company

museika — Thu, 14 Jun 2007 02:27:39 GMT

Hi all,

I've been working at starting my own freelance photo business. I have acquired a few jobs on my own, but I am still in a phase where I looking for more experience to add to my portfolio, and I feel I could learn a lot under the tutelage of someone more experienced. Ya know, someone to help me really learn all the ropes as it were.

I've been presented with an opportunity but wanted more information so I know what to expect. The opportunity is to join an already established small wedding and event photography business as an associate photographer. But I am curious about copyright issues in this situation. Does the company own whatever I shoot? Does anyone know how this usually works? Are there other pitfalls to be aware of?

I'd appreciate any feedback you could give me.

posted in Pro Photographers - 2 replies

Color in D200 vs D70

wyoming22 — Fri, 22 Jun 2007 19:41:19 GMT

Hello, I just got the D200, and I'm wondering, from those who have used it, how to get the best color results. Reviews say the color results are far superior to the D70, but I"m still delving into the additional white balance controls. the D70 has really limited white balance controls, but I had learned what to expect.

Anyone have any good suggestions for getting accurate true color saturation?

So far I'm really impressed with this new camera

posted in Pro Photographers - 0 replies

Budget strobe kit

wyoming22 — Thu, 11 Jan 2007 19:49:57 GMT

Ok,
I need some recommendations on 3 head strobe kits that I can purchase for under $1000. I am moving across country in a few months, and will not have access to my free rentals or equipment I"ve been using.

I want a basic portrait strobe kit that is stable and powerful enough for one or two models in the studio. If it's a high wattage assignment on location I'll rent lights.

My problem is I don't know any of the low end strobe heads. Has anyone had any experience with this, or can lead me to some possible sources of information.

I've researched online, but I get alot of the ebay shit that's ridiculously cheap and probably performs just as well. Or I get some strange photo online store that is selling brands I've never heard of with extended warranties. I just don't know what to trust.

I rely on strobes more and more as time goes by, and to move to a new market where I don't have any contacts, I am afraid I will be unable to price rentals into my contracts and still be competitive.

Suggestions?

Thanks in advance

wyoming

posted in Pro Photographers - 28 replies

Call for Entries - Alternative Processes

Thu, 03 May 2007 20:47:17 GMT

Alternative Processes
Deadline June 5, 2007

The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate in its exhibitions and activities. Traditional, contemporary, avant-garde, creative and experimental works, including new processes, mixed techniques, and challenging personal, emotional or political statements are welcome.

Theme: Alternatives - All subjects welcome.
Images derived from alternative image capture and printing, such as Holga, pinhole and other cameras, photograms, scanograms, holograms, Polaroid transfers, etc.

Important Dates

Entries due June 5, 2007
June 15 2007: Notification of acceptance
August 24, 2007: Exhibition opening
September 7: Public reception for artists
September 22, 2007: Exhibition closes

Visit www.c4fap.org and follow the links for Call for Entries or email questions to cfe@c4fap.org

posted in Pro Photographers - 0 replies

Storing negs in a humid climate?

mmm — Mon, 16 Apr 2007 01:17:44 GMT

Hi,

I may be moving near the beach in San Francisco soon and heard that mold can build up in the apt. building. Is this going to cause a problem for the storing of negs and prints? How can I avoid this?

posted in Pro Photographers - 1 reply

questions on royalty free license

Thu, 12 Apr 2007 16:48:18 GMT

i am doing research on selling photos. i often come across the term 'royalty free' images or license. i am trying to grasp its exact meaning.

as i understand if you sell a royalty free image the buyer may utilize the image in whatever way they wish ie. advertisments, calenders, broachers ect...but you as the seller still hold the RIGHTS to the photograph. that meaning you may still SELL the pic to another buyer. am
i right? correct me if i am wrong.

posted in Pro Photographers - 1 reply

The delicate phrasing of media turn around time

wyoming22 — Sun, 01 Apr 2007 17:48:24 GMT

Hello photographers,
I am wondering how you all deal with clients who want un-edited raw media immediately after the shoot. Do you have a clause in your contract that excludes this? what is a standard turn around time? I usually say within 5-7 days, but I find quite often that people think because it is digitial they should get the files immediately.

Also, what do you do in the case of last minute shoots where they must have the media that day, and you don't have time to apply any of your workflow to it?

I am frustrated because a few instances for catalog and fashion work I have really wanted to do, and needed to do to round out my portfolio, both times the designer wanted the images immediately, and did retouching to the work that was appallingly amateurish. It makes me concerned that as their taste level grows, they may view my photographs poorly in retrospect, whereas, if I had been able to properly apply my workflow to them before handing them over, I could have made sure they were up to my quality standards.

One more question, how do you satisfy the demands for quantity? A lot of people assume these days that they should get 100+ images for a days shoot, because it's digital now. Whereas with film, they never would have expected it. I don't want to give them anything but the best shots.

posted in Pro Photographers - 12 replies

Photography and Photographers - humor

sueshi — Tue, 06 Mar 2007 03:08:38 GMT

http://knuttz.net/hosted_pages/Photography-and-Photographers-20070304

posted in Pro Photographers - 1 reply

Editing Workflow

Xeena — Mon, 22 May 2006 01:38:06 GMT

How do you go about editing photos? I shot about 700 for my last wedding and need to choose the best 72 for prints and the best 200 (which will include the 72) for a disk. I find this takes a long time and I wonder if people have come up with shortcuts. I find I do an initial edit of obviously bad ones. Then a tighter edit. Then I renumber. I'm finding myself sorting into Yes, No, Maybe folders.

Part of this is probably an extension of my personality where I keep many things thinking they may be useful one day; I find it hard to get rid of photos too.

posted in Pro Photographers - 26 replies

light meters?

Fri, 27 Oct 2006 17:57:43 GMT

so eventually i have got a fuji 690 camera after waiting a year. hooray! a'll i need now is a light meter so i can go out into the feild and shoot. i've never used one. there are loads going on ebay for reasonable prices. what do you recommend. i think i will puchase two cheep one and use the best one.

i am looking for one thats small, simple to use and gives the f-stop, speed and ASA readings...some don't give all three so you may end up having to do mathermatics in the street and wasting photo time.

any recomendations?

posted in Pro Photographers - 12 replies

Agents for hire?

mmm — Fri, 02 Mar 2007 02:58:11 GMT

Howdy everyone....

I've been searching for a rep for while and getting good feedback BUT no representation.

Is there such a thing as hiring an agent or rep rather than waiting to 'taken on' ?

posted in Pro Photographers - 0 replies

New Performance Photography Tribe

braddosland — Mon, 26 Feb 2007 22:23:47 GMT

http://tribes.tribe.net/performancephoto

Come check out this tribe for performance photographers and the people who enjoy photographs of performances.

posted in Pro Photographers - 0 replies

Best Pro Photo Lab in North Bay (SF Bay Area)...

davidescalante — Tue, 06 Feb 2007 23:13:07 GMT

Hey, I'm moving up to the San Francisco Bay Area and looking for a new lab that provides top notch work. Hoping that some of you can make some solid recommendations...

-thanks

posted in Pro Photographers - 2 replies

Seeking additional moderator.

nevets — Wed, 31 Jan 2007 23:22:58 GMT

Hi folks,

I'm the owner/moderator on this tribe and I'm getting to the point where I can't really keep up with it on a regular basis.

So... I'm looking for someone to add as a moderator. Ideal candidate is a full-time working pro shooter who frequents tribe on a regular basis. Responsibilities would be approving new members and moderating the message board (as needed)

Please send me a direct message here on tribe if you are interested. DO NOT REPLY TO THIS THREAD

posted in Pro Photographers - 0 replies

Sierra Club

Jeffrone — Mon, 29 Jan 2007 19:41:35 GMT

For those who wanna checkout some nature photos with guest speakers....
----------------------------------------------------------------
New York City Sierra Club Photo Committee presents

Guest Speaker
Tony Sweet
Wednesday, January 31, 2007--6:30 PM

St. Paul the Apostle
405 West 59th Street-2nd floor New York, NY (11/2 blocks west of Columbus Circle, between 9th
and 10th Avenues)

$4.00 donation at the door

Tony Sweet turned to nature photography after 20 years as a
professional jazz artist. He comments that ?the
improvisational, spontaneous, and abstract nature of jazz are
also integral elements of nature photography.?

?Nature Photography: The Art of Interpretation? will be his
subject. Tony?s new book, Fine Art Nature Photography: Water,
Ice, Fog, will be available.

His activities and achievements include:

Fine art prints exhibited in private and corporate collections;
images widely published commercially

?Visual Artistry? workshops conducted nationwide; speeches
given to many groups on nature photography and marketing

Two previous books published on fine art nature and flower
photography; articles and images featured in photo magazines
and on Nikonnet.com.

In March 2006, Tony was honored as a Nikon Legend Behind the
Lens.

For more info and images, visit Tony?s website:
www.tonysweet.com

For his online courses, visit:
www.betterphoto.com

posted in Pro Photographers - 0 replies

photographing events

bakari — Fri, 03 Jun 2005 05:45:42 GMT

I'm new to this tribe and I'm far from being a pro but I'm working at it.

I was wondering...if you photograph people at a public event, say an outdoor jazz concert, is it legally okay to post photographs of the shots you take on say shutterfly.com for sale? Do I need to get permission from the organizers of the event before you take pics and pass out flyers announcing where the pics will be posted and on sale?

I realize it's better to get permission from the organizers, but just wondering if it's okay to do so without the permission.

Thanks for any and all feedback.

posted in Pro Photographers - 6 replies

Profoto Lighting Equipment.

dyna-lite — Tue, 15 Aug 2006 17:22:07 GMT

My partner and I are considering upgrading to a Profoto lighting system

3 - Acute 2R 1200 power packs
6 - D4 Heads (2 - 500W , 4 - 250W)

I've read all the lit and know that Profoto makes a great product. I was wondering
if anyone one here on this tribe owns or has worked with Profoto gear. What are
your likes and dislikes if any.

posted in Pro Photographers - 10 replies

images on tribe...for sale?

Sam Ann Tha — Fri, 05 Jan 2007 05:59:37 GMT

hey, I would love to post my pro images, but it seems that anyone can purchase them via tribe & pritn them without you knowing. making the images depreciate in value (in a gallerists eyes). Can you imaging buying a Her Ritt's file from an online network, then making a custom print for like $20? hhmm. what should I do?
some of my subjects would like to post their images, but I plan on selling the images in an art gallery in the future. Galleries dont' like the idea of you printing outside the edition let alone the images floating all over the place. what should I do?

posted in Pro Photographers - 1 reply

NY times article on photographers and photoeditiing

abjectphoto — Tue, 26 Dec 2006 21:38:50 GMT

http://www.nytimes.com/2006/07/21/business/media/21asktheeditor.html?ex=1167282000&en=95800de870510020&ei=5070

Talk to the Newsroom:
Assistant Managing Editor for Photography
Michele McNally

Article Tools Sponsored By
Published: July 21, 2006

Michele McNally answered reader questions during the week of July 10 about photography at The Times.
Skip to next paragraph

Michele McNally

Ms. McNally joined The Times in 2004 as director of photography. Before coming to The Times, she was the picture editor at Fortune magazine.

These discussions will continue in future weeks with other Times editors.

Equipment for Photographers

Q. I am an amateur photographer, and I am interested in some of the technical aspects. I imagine that all of your photographers now use digital cameras. If so, do they use 35mm format digital cameras, or a larger format? What format do you receive these photos in -- RAW or JPEG?

-- Patrick Reardon, Fort Worth, Texas

A. Yes, all of our photographers are equipped digitally. We currently use 35mm-format Canon Mark II's and 5D's with a variety of lenses from 10mm to 600 mm. We have Hasselblad and large format equipment that shoots film. Our photographers are also equipped with lighting equipment -- 2 strobe heads, battery packs and filters. We receive the photos in JPEG format. Good luck shooting!

Photographing the Person in the Story

Q. I read a lot of newspapers. I've even worked for a few. I love the NYT for its quality of writing, reporting and photography, so this is a very small complaint: It seems that more often than not when a story starts with a "person," the main photo is of someone different. As a former reporter, I know that it can be difficult to always coordinate with the photographer. And sometimes, the best shot is not the person used in the lead.

But it really does seem like the NYT has a particular problem with this. Is it because the paper is just too big and reporters/photographers just don't work together? As a reader, it's very distracting and frustrating to read a lead, wonder what the person looks like and then see the photo, which is of someone who is buried elsewhere in the story. Like I said, small complaint. Keep up the good work.

-- Joe Kolman

A. First, thank you for the compliments.

This happens for a couple of reasons. Sometimes the reporters work on a story for some time and request that we shoot a variety of subjects, not knowing at that stage who will be the lead of the story. We try to shoot who they think will be important, but as they report and work out the details, and write the piece, things change. Sometimes the more interesting picture is not the lead, and we would like to engage the reader as quickly as possible. The reader frequently goes to the picture first, then to the caption and then to the headline.

Fuzzy Color Photos

Q. Why are so many color photos out of register in the print edition? This has been going on for years! I would rather see a clear black-and-white photo than one in color that is seriously out of register, which most of them are. Doesn't the technology exist to correct this problem? If not, let's go back to black and white.

-- Ann Kirschner, Brooklyn

A. A picture is "out of register" when the color plates on the printing press are not perfectly aligned. With four separate plates (cyan, magenta, yellow and black) running at super high speeds, they occasionally fall out of alignment. When this happens, the picture appears out of focus or badly executed. Keep in mind that our printing presses are bigger than two-story houses, while it only takes a few millimeters to have something end up out of alignment. We go to great lengths to minimize the number of out-of-register copies of the papers that go out, but the reality is that some do.

Photos of the Day

Q. I have not found a "photos of the day" section in The Times. That would interest me. Is there a reason for that?

-- Peter Menkin, Mill Valley, Calif.

A. We are anxious to begin doing just that, as well as adding many more photo-related features to the Web site. There are great photographs every day that we simply can't fit in the newspaper and the Web is virtually unlimited.

Photo Manipulation

Q. Now that more or less all photojournalism is done in the relatively new world of digital photography, how do you draw the line between acceptable editing in Adobe Photoshop and unacceptable manipulation? What if that one decisive shot has been manipulated? Do you try to fix the damage and run the photo or is the image abandoned altogether? How do you formulate guidlines specific enough to encompass the vast possibilities of a program like Photoshop?

-- David Brody, Altanta, Ga.

A. We have a very definitive policy regarding manipulation. For news pictures it is unacceptable. Our ethics guidelines make this very clear. For feature sections we sometimes combine photography with illustration. They are clearly labeled as illustration.

Our production department prepares images for reproduction. They are able to detect anything out of line and if they do, we will not run it. If the cause is murky, we will ask for the raw file. We do allow basic contrast/tonal adjustments as well as some sharpening and noise reduction. Our photographers have been taught these basic photoshop techniques and are well-versed in their use.

Pictures of American Casualties

Q. I have a question about the rules governing the publication of photos from Iraq. The Times prints photos of wounded Iraqi civilians, often children, and family members grieving at funerals. At the time of the invasion, and after, you also printed photos of dead or wounded Iraqi fighters and captured Iraqis, sometimes in humiliating circumstances. We've seen grieving family members at the funerals of American soldiers too. But as far as I can remember the paper doesn't print pictures of dead or wounded American, or Coalition, soldiers. This is very different from my remembered experience of the Korean and Vietnam wars. Are American papers prohibited by the military from publishing such photos, or is this a decision taken by the Times itself?

-- Margo Viscusi, New York City

A. Actually, we publish them whenever we get them. These pictures are not as forthcoming as you might think. The only way you can get them is to be on an embed where American soldiers take a hit. Here are a few examples of what we did publish.

There is only one rule on publishing pictures of identifiable dead soldiers: we must wait for the families to be notified. We have spent time with American soldiers trying to recover from devastating injuries and published a series in January of this year. Many were hit by roadside bombs and had severe brain injuries or were double amputees, sometimes both. We try to show as much of the story as we can get and will continue to do so. (Photographs by Johan Spanner/Polaris for The New York Times, top left; Joao Silva for The New York Times; Ashley Gilbertson for the New York Times, bottom right)

Advice for Young Photographers

Q. Do you have any advice for young people who are about to start a career in photography?

-- Matt Mills, Santa Fe, N.M.

A. The most important work a young photographer can do is existential. You must figure out what kind of photographer you want to be, what do you want to say and how are you going to do it better than others have done before you.

Recognize that the career of a photojournalist is a difficult one personally, so you must love what you are doing. Be certain of your mission, but be prepared to constantly grow. Work hard, very hard. Be forever curious, persistent and gracious. When people let you into their lives, realize that it is a gift.

Don't let technical issues come between you and a great picture; make it second nature. Recognize the role of aesthetics in storytelling. And shoot, shoot and shoot some more.

Cameras and the Police

Q. I am a student photographer shooting for my University's newspaper and I often run into problems with security and people afraid of my camera. I am curious: after 9/11, what obstacles do your photographers encounter and how do they get the shot that they are allowed by the Constitution?

-- Dan Richards

A. Our photographers carry their credentials -- their New York Times ID and NYPD press pass -- in full view; they usually hang them around their neck. If they are confronted by an officer, a call to the picture desk usually solves it. Sometimes the Deputy Chief of Public Information needs to be notified to determine if we are in the right. If you are stopped by the police, I suggest that you cease shooting, explain yourself and never be confrontational. Shoot only from public spaces. You are prohibited from shooting bridges and tunnels, less so the subway.

Criteria for Hiring Photographers

Q. Thanks for answering readers’ questions. I am a freelance professional photographer with many years experience shooting weddings, portraits, models and small scale commercial assignments; I even was a stringer for my city’s daily for a couple of years until the position was eliminated. My question is, why do major newspapers seem to require their photographer hires to have worked previously for peanuts in Podunk instead of evaluating their portfolio and prowess as it currently exists? It would seem that if a photographer has what it takes, then that should be sufficient criteria on which to base a hiring decision. Many of us began our careers after having families and homes and do not have the relative luxury of working in Podunk to establish our bona fides. What does the New York Times look for in its photog hires?

-- Mike Malone, Memphis, Tenn.

A. Here is a recent job posting for a staff photographer at The Times:

"The New York Times has an opening for a photographer in New York City. Candidates must be high energy, passionate and dedicated. They should come equipped with the skills, drive and creative abilities necessary to make compelling images for all areas of the newspaper -- news, sports and features. We're looking for a photographer who will give their all on any and every assignment from the mundane to the exotic and who easily gets along with others. Must be able and willing to work nights and weekends. Knowledge of the web, multimedia and video will be strongly considered. Technical proficiency in Macintosh computers a must. Send portfolio and resume."

Our recent hires have come from the wire services, other newspapers or were freelance photojournalists. A stint in Podunk does not fulfill my criteria for a New York Times photojournalist.

Accurate Representation

Q. News images influence how we perceive a story or individual. For example, one image might show a candidate appearing confident while in another he or she may appear befuddled or guilty. Unlike the written article, which presumably strives to acknowledge different points of view, the photo is typically a singular statement. How do photo editors walk this journalistic line?

-- Yosh Asato, San Francisco, Calif.

A. The photo editor will typically read the story and/or talk to the reporter or photographer from the scene and make a selection that is emotionally truthful.

Aesthetics and News

Q. Many of the pictures I see in the New York Times have artistic as well as newsworthy content. They tend to be classically composed. I assume this is because your photographers are trained enough to shoot dynamic images even under extreme circumstances and time pressure. Nevertheless, do you ever find yourself having to choose between a picture that is well shot and aesthetically pleasing and one that is not but perhaps does a better job reporting the news (or shows news that's more important)? If so, which do you chose?

-- Katherine Greenleaf, Rochester, N.Y.

A. The best news photographs work on many levels: historical, sociological, emotional and aesthetic. These are the images that stay with you. Not all situations provide these opportunities, but that is what we strive for.

Yesterday, we opted for the news. There is no doubt the top picture here is more dramatic, but it provided little context. So we chose the bottom one, which is well composed and provides more information about where you are and what it looks like. The picture of the officer might be more evocative but doesn't fully make the event tangible.
The Palm Beach Post used it on its front and it does look good. (Photographs by Chris Hondros/Getty Images, top; Justin Lane/European Pressphoto Agency)

Distracting Elements

Q. How do you feel about distracting elements in a photo that otherwise is a compelling shot of your subject, usually a person, but maybe an object. Specifically, out of focus objects in the foreground, glare spots, limbs cut off at awkward places, etc. I get critiqued on these "faults" but I see them often in the work of good photojournalists. How do you decide what works and what is a disqualifier?

-- Anne Guidry

A. I enjoy a more complicated picture, one that uses the foreground, middle ground and background in the picture frame. In the top row of pictures above, all three have unusual framing, with limbs cut off, but they are all successful pictures. The limbs provide the narrative. They are not randomly positioned but enhance the message each photographer was making. Imagine the image without those body parts. Not a picture at all.

Focus follows in the same lines. In the bottom row, in the first picture, the focus is on the couple, but the movement in the background adds mood and explanation. Pedro might be sharp, but the foreground player is totally out of focus, forcing you to feel the intensity of the moment and making your eye travel to the ball, which is in focus. (Photographs by, top row, from left: Nicole Bengiveno/The New York Times; Lori Waselchuk for The New York Times; Tyler Hicks/The New York Times. Bottom row, from left: Lynsey Addario for The New York Times; Vincent Laforet/The New York Times; Christoph Bangert/Polaris, for The New York Times.)

Reporters Taking Pictures

Q. I'm a student reporter for my college newspaper. I always find it useful to bring a camera along with me when I do interviews. Sometimes, I feel that reporters can do a better job of illustrating an article because they have a better working knowledge of the essential facts and ideas of the story.

How often do Times reporters photograph for their own stories and how do you decide when to let them or when to send a photographer? Are many reporters at the Times accomplished photographers, and vice versa? Do you think that a team is more advantageous for reporting?

-- Aaron Munzer, Ithaca, N.Y.

A. Our reporters do on occasion take pictures. Their abilities vary. It depends on where they are and if we can gain access for a photographer. I would always prefer to send in a photographer.

I find the best overall reporting occurs when a reporter and photographer work closely together on a story. They can help each other out - each could see or hear something that the other doesn't.

Words and Pictures

Q. I have seen loads of changes in The Times during the 48 years I have been reading it. Of course, now we see a more artistic product than before. What gets my goat is the waste of space. Today's National Edition has only six stories on page one along with an appropriately-sized four-column photo of the damaged buildings. All too often, though, we will get a blank "wall" with just a piece of it interesting. An example was the Secretary General addressing the United Nations. He could have been cropped to a one-column shot and The Times could have another story to the front page. In other words, why waste a quarter of our front page on blank walls and empty seas?

-- Alice Barnes, San Bruno, Calif.

A. I believe that words and pictures combined together are better than either alone.

Memorable Pictures

Q. How does The Times go about obtaining photographs from breaking stories in which amateur footage has been shot? For instance, if I happen to be at the scene of a major international story (away from a professional photographer) with my digital camera, how would you go about obtaining those pictures from me? Do amateurs approach The Times with their photographs and if so, do you ever buy those pictures from them?

What are some of your most memorable shots throughout your career in photography?

-- Zachary Whitley, Chapel Hill, N.C.

A. Amateurs often approach us with breaking news photography, both still and video. They call the picture desk, 212-556-1081 to alert us to what they have. We then tell them which of the picture editors is handling the story and have them e-mail it to the appropriate person. All incoming material needs to be authenticated and then verified yet again. We need to really scrutinize incoming visuals from people we don't know. Sometimes, even when we are on the scene, we will approach someone who might have something we didn't get.

Whoa! Almost 30 years of doing this, and I have a long memory. I fell in love with visual journalism when I was a teenager growing up in Brooklyn. Henri-Cartier Bresson, WeeGee, Diane Arbus, and many others. I was completely turned and committed after seeing a show of Josef Koudelka's work on Gypsies. These pictures showed me what documentary photography could do: to bring you an intimate view of people and places, take you where you have not been, teach you something, and ultimately make you feel. Photography could bring home the diversity and commonality of humanity -- its joys and flaws. It is a great medium for clarifying what people do, and what they do to each other.

Hmm. The most memorable pictures. Think I will have to stick just with the last two years or I'll never get back to my day job. I pick this time frame because it covers the span of time I've been at The Times, and it won't be everything for sure. I believe the most important picture, the one that will stand the test of history, is a picture from Falluja... View the slide show of Michele McNally's selections.

Becoming a Picture Editor

Q. You dealt with many of the questions that intrigued me over the 40 years which I worked as a freelance professional photographer specializing in industrial subjects. But you left unanswered one of the most interesting. What are the qualifications for becoming a picture editor, and how does a non-photographer become one?

-- Harry Gehlert, Baltimore, M.D.

A. I was never a photographer; I knew I couldn't capture what I felt on film, or pixels. Many picture editors from major newsmagazines and newspapers have never been photographers. They have been artists, art historians, anthropologists, film makers and communication majors (me). Many have started at photo agencies and worked their way up. Others started as interns either at papers or magazines. They have usually started as picture researchers (not assigning photographers but picking up existing pictures) or librarians, in charge of archiving imagery. This allows someone to develop resources, to see a vast amount of pictures and to train their eye. I think that editors and photographers use different skills. Sure some overlap and it is great if you have both...but it's not necessary.

Composition

Q. Can you talk about composition in photography? Is composition something that can be taught or is a natural gift? Also, can you recommend any great books about composition in photography?

-- Raymond Hagans, Atlanta

A. Yes, it can be a natural gift. I've worked with young children and have been blown away by their sophisticated sense of space and the frame. I do think it can also be learned over time. Don't stick to just photography books on composition; study the great artists too -- books, museums, and galleries -- and your eye will develop. The more you look at, the better. The classic photography book on composition, is from the Time Life Series, "Mastering Composition and Light."

Shooting Film

Q. Thanks for your great responses to the questions posed thus far. Here's mine: Other than studying the work of photographers who use the film medium, and doing one's own creative work, are there any compelling, practical reasons to deepen one's knowledge of shooting film, or are we at the point where digital imaging can do everything film can do and better? Thanks for considering the question.

-- Gregory Wendt

A. It's always good to know where we came from. You might find yourself in a situation where the texture of film will enhance what you are trying to say. Large format pictures, platinum printing and various other film processes might not be practical for certain assignments but could sometimes be appropriate. Most galleries and museums show prints. Archiving digital photography is still not perfect. I can still tell if it is digital or film, so we aren't quite there yet.

Controlling Photographic Coverage

Q. As the Times has reported on one occasion, the Bush administration has been singularly aggressive in shaping and staging angles of photographs possible to take of the president and other members of the administration. Herding the press into an enclosure from which only dynamic upward-angled shots of the president are possible, for example. or setting the president against the background of the brightly lit cathedral in New Orleans results in shots worthy of Leni Riefenstahl. Wouldn't it be proper to either refuse to publish such manipulated shots, or run a note in the caption explaining the limits imposed on taking it? Since the manipulation is otherwise invisible to the reader, doesn't the Times have a duty to inform readers about the behind the scenes shaping of such shots?

-- Ellen Gruber Garvey, Brooklyn, N.Y.

A. Our photographers desperately try to get around that problem...

But seriously...about New Orleans. We spoke about the "presidential stagecraft" in this story. (Photograph by Doug Mills/The New York Times)

Clarification on Photographing Bridges

Q. I read what you told a student photographer in your interview on "Talk to the Newsroom." I need to bring you up to speed on the law so that you may tell people their rights to photograph.

It is perfectly legal to photograph bridges and tunnels from public areas. Imagine if you couldn't take photos of the Brooklyn Bridge? Port Authority and TBTA have signs up indicating no photography, but where is the law? Test it one day.

Second, photography is perfectly legal of bridges and tunnels from areas that are not part of their property. Imagine if you will, that you were in the rest stop at the Verrazano Bridge and took a picture of the bridge. Wouldn't you say that is perfectly legal?

Third, you said it is even less legal to take photos on the subways. Let me say that the MTA attempted to pass rules that would have banned photography, but the NY Press Photographers Association, with the help of numerous other organizations fought and won this battle.

The MTA lists this on Section 1050.9 Part C of their rules and regulations where it specifically gives the public (not just the press) permission to take photos in the subways. This rule goes for Long Island Railroad, Penn Station, Grand Central and other MTA properties.

Further, after winning this battle, the MTA sought to make it illegal anyway. We, with the help of NPPA, ASMP, NJPPA, and the NYCLU threatened to sue and the MTA again backed off with a letter sent to us from Catherine Rinaldi, General Counsel and deputy executive director for the Metropolitan Transportation Authority (MTA) who conceded to photographers in a letter that there is “no ban on photography in the Long Island Railroad or the Metro North Transit system.”

While your advice on dealing with police is probably the best advice that anyone can give, it is important to advise your photographers and any other photographers that it is their constitutional right to take photos in any public place. The NYPD also has their own rules that subject officers to administrative hearings if they violate them.

"NYPD Procedure Number 212-40
"In order to cooperate more fully with members of the news media and provide them with access to cover newsworthy events, the following guidelines will be adhered to unless safety interests or proper performance of police duties require otherwise:

"To the extent it is feasible to do so, the media’s access to demonstrations on private property will not be impeded by the department.

"The media will be given access as close to the activity as possible with a clear line of sight and within hearing range of the incident.

"When the incident spill over or occur on private property, members of the media will not be arrested for criminal trespass, unless an owner or representative expressly indicates that the press is not to be permitted to enter or remain on the property.

If the ranking offer at the incident determines that press access must be restricted in certain circumstances (i.e. in order for the Department to carry out its law enforcement functions), he retains the discretion to do so."

I'm sending you this information because you should be best informed of the rights of your photographers. Your attorneys could confirm all this information and it can be found on-line. We are always with you as your colleagues and your counsel on photography issues is important to all of us.

I hope this information is helpful to you and provides you with the ammunition that you and The Times needs to continue to do their jobs unfettered.

-- Todd Maisel, Vice President, NY Press Photographers Association

A. There are certain New York City bridges that are clearly marked with a sign that reads, "No Photography" like the Triborough Bridge. There are exceptions. If the police think you are "engaged in suspicious activity," they will stop you. If they see typical, casual, tourist-type photography, common sense will prevail. If they see you photographing the tracks, or working late at night, you will most probably be stopped. If you are a credentialed photographer, and you are stopped, you can call DCPI -- they try to accommodate journalists. In fact, one of our photographers was stopped last night on the PATH line. Remember the Iranian agents shooting pictures of the #7 train...

Contract Photographers

Q. New York Magazine recently published a series of Vincent Laforet's New York aerial photography. What is his status with the New York Times, and how does it differ from the employment terms of other staff photographers at the paper? Do other Times staff photographers have the ability to work with other publications?

-- Margaret Lee, Brooklyn, N.Y.

A. Vincent Laforet is a contract photographer for The New York Times; he is not staff. He can take other assignments but he is available for a certain number of assignment days from us. He is not the only contract photographer we have. There are three others.

Does Size Matter?

Q. I am a photography student at California College of the Arts. Being the somewhat tiny girl that I am, I've spent a lot of time wondering what affect this has on me as a photographer. Sometimes I believe that it gives me an advantage because I am less threatening to some subjects in a photojournalist venture. Or does it make me more vulnerable because I am just that; a tiny white girl with a camera? How has this affected you as a photographer, and what's your take on it? Thanks so much! I really respect the work that you do.

-- Monika T. Rivard, Oakland, Calif.

A. Though I, too, am a tiny white girl, I have never been a photographer. As a picture editor, it has neither helped or hindered. Once, during a disagreement, my old boss told me, "you are small, but you just don't know it." One of the best photographers of this generation fits your description, Lynsey Addario. She has been to Iraq, Iran, the Sudan, Darfur, the Congo, etc. Almost every hot spot.

She has courage. She has the ability to make people feel instantly comfortable. She is smart. She gains access where other people can't. Is it her size or gender? Being a woman in Muslim countries can sometimes help. As for her size, I can't say, but it doesn't hurt. (Photographs by Lynsey Addario for The New York Times)

Lynsey Addario, center.

Including Names in Captions

Q. Thank you for the wonderful job you do in bringing the world to focus through photographs in The Times. My question has to do with photo captions: What is your standard practice/policy regarding the inclusion or exclusion of names of photo subjects? I've noticed that photos taken in other countries often omit the name of the person/people in the photograph, even if they are clearly identifiable. To me the absence of a name de-humanizes the individual...if they're nameless, it's easier not to care about them.

-- Cal Mann, La Jolla, Calif.

A. We submit caption information with names of subjects, if we can get them, to the copy desk. Many foreign pictures, however, are taken under duress. Sometimes publishing the names could be dangerous: Iraq, Somalia, the Sudan, etc. And sometimes a photographer will travel without a translator, as we did in Banda Aceh, and though the subjects were clearly identifiable in the aftermath, it was impossible to get correct information.

Pictures of Pictures

Q. Over the past few years, I have noticed an increase in one type of picture that appears in the daily New York Times: photographs that contain pictures (usually other photographs). In fact, I have counted as many as five in one issue, some of which even appear on the front page. Examples include: someone holding a portrait of a recently deceased or missing relative, a parade of people carrying photo-posters, or shots that show one or more photographs in the background, on walls or desks, etc. These pictures-within-pictures are prominent and intentionally visible. What is the purpose or overall meaning of this strategy? Are individual photojournalists told to return with these images? Do photo editors favor this content? Do you think readers get different information or are more interested? I am personally attracted to these photographs and would love to hear your opinions on my questions.

-- Richard Chalfen, Boston, Mass.

A. We are seeing a lot more of these pictures these days. In many countries, it is common practice during mourning or funeral services to parade pictures of the dead, and it has become much more prevalent here in America since 9/11. In these instances, we are simply recording what we see. Pictures on a desk or wall are a different story. They could be providing insight about the subject being photographed or some visual interest in what could otherwise end up being a pretty banal picture.

A Great Photograph

Q. Thanks for doing the Talk to the Newsroom feature. It's really fantastic to be able to ask questions of really talented people. My question is simple but difficult: What makes a great photograph?

-- Larry Thompson, Fairfield, Conn.

A. ...and I will give you a very simple but difficult answer: A great photograph makes you feel something.

Photographer-Initiated Stories

Q. Most investigative pieces in newspapers appear to be initiated by editors or writers, with the photographer serving as illustrator. How likely is it for Times photographers to develop an idea for a story? Can you name any examples?

-- Eli Kaplan, New York, N.Y.

A. We encourage our photographers to initiate stories. Sure, writers and editors like to see their own ideas come to fruition, but some are very open to suggestions. I tell photographers that if they want to win, they have to learn to play in the arena. The written proposal needs to be thoroughly researched, statistics included and have the "why now?" question answered before they ask.

Some recent examples: James Estrin proposed a series on Assisted Suicide, Fred Conrad on Cuban Baseball, James Hill on the Chernobyl Liquidators, The Ladies of Gorky Park and Michael Kamber on Togo and Darfur - written and photographed by him.

Do You Recommend Graduate School?

Q. I am an aspiring young photographer working part-time towards a career in photojournalism. Right now, I string for a wire service and my metro daily. My college undergraduate degree was in engineering, but because of my involvement through our student newspaper, I know now I want to take pictures for a living. My question is: do you recommend people in my situation to pursue formal graduate education? Whether it be a broad journalism degree, or a specific one geared towards visual communications?

I know even with two years of freelance work, there are many journalism skills I could hone in on. What would be your advice for maximizing the growth of my career? If grad school is a good idea, do people tend to work internships or even shoot fulltime concurrently?

Finally, I love the multimedia picture slideshows on nytimes.com and have tried to learn techniques from them myself, using Audacity to edit recordings and SoundSlides for putting it all together in Flash. How do you feel about the photojournalist of the new online age becoming a one-man reporting unit? Is it too much for a single journalist to juggle making compelling pictures and also gathering facts and audio recordings? Thanks very much for your time!

-- Tony Ding, Ann Arbor, Mich.

A. I don't always think it is necessary to get a graduate degree, but each person is different. For someone like you, with an undergraduate degree in a very different field, I would recommend it. As you say, it would allow you to hone your journalistic skills. It would also give you time to really work on a portfolio. Internships, whether they turn out good or bad, are very helpful in letting you figure out what you do and don't want to do. Workshops are also good. I suggest a visual journalism degree where you are mostly shooting and editing and acquiring good narrative and ethical standards.

I think the one-man recording unit is only doable in a non-breaking news situation, where you have a lot of time. We are beginning to see photographers shooting video and using frame-grabs in newspapers. Some photographers are traveling with audio, more are learning video. If and when all this equipment becomes really lightweight, or just can be installed as a chip in a photographer's eye and ear, then it would be possible in a fast breaking news situation.

Light-Hearted Photos

Q. I would like to know why in journalism it is all heartbreaking photos that you think that we want to see. There is good news, albeit not a lot. Example: in this article you have a side show title "Memorable Photographs" there must be some memorable photos that are of people doing great things, nature, science etc. and encourage the human sprit. Thank you for the opportunity to ask the question.

-- Rochelle Ackell

A. You are correct. There certainly are memorable photos that encourage the human spirit. As I said, I limited myself to hard-core news in that series, skipping other categories. I do think that people do great things. I find this story on little ballerinas inspiring and just to keep you smiling, here are just a few terrific photos that are lighter in nature.

Foreign Publications

Q. Is there any publication abroad that you really like for the quality of its pictures?

-- Giovanni Carozzi

A. The best are the Danish newspapers, with Politiken leading the way. I look to Stern and Paris Match after big news; they will publish 25 double-pages of great photography if the news warrants it. German Geo usually has something and photographers love working for Mare.

Becoming a War Photographer

Q. How should one go about becoming a "war photographer"? I understand newbies are encouraged to get to the region on their own steam and simply start photographing. Don't expect someone to pay you to go there, the advice goes, at least not in the beginning. But it doesn't seem to be that easy. I am working in Jerusalem this summer, and I brought along my camera with the hopes of playing freelance photojournalist in my spare time. Unfortunately, I've had little luck so far; without a press card, I can't enter most hot spots, like Gaza, for one, and in any event, in tense situations, most subjects are reluctant to be photographed if not entirely opposed to the very presence of a camera in the area. (I'm even beginning to wonder how Weegee went about photographing crime scenes after the fact -- that doesn't seem to be any easier.) To boot, if following a gaggle of photographers rarely yields many interesting or original pictures, striking out on one's own or venturing off the beaten path seems to invite trouble, especially when one doesn't know the language. Any suggestions?

-- Kas Bell

A. Going into a war zone without an assignment and hoping to get picked up by a news magazine or agency was the paradigm of photojournalists from the late 70's through the 90's and even during the Gulf War when aspiring shooters went without being embedded and generated the strongest material. Some of the best, like James Natchwey, Christopher Morris of the VII photo agency, or Anthony Suau probably cut their chops that way early in their careers either in Northern Ireland or Bosnia -- or they could have received a guarantee from an agency or magazine, if they got something no one else had.

That said, it would be irresponsible of me to recommend doing that in these times. The sides of those earlier conflicts were much more clear; photographers and journalists weren't targeted like they are now. It was certainly dangerous, but not like now, where consecutive suicide bombs, IAE's and direct attacks on journalists are happening. A Swedish cameraman, Martin Adler, was recently killed in Mogadishu -- at close range, while shooting a demonstration. The best and the most experienced war photographer, James Natchwey was wounded in Iraq and one of our own, Fakher Haider, was killed there. These are very scary times.

I would advise you to connect with a wire service and try to work in the bureau, helping their photojournalists, aiding transmissions or providing back-up and don't expect to be in the streets for a while. This offers some security. But the most important question you must ask yourself is: are the pictures you might get...worth your life?

Photoblogging

Q. The availability of digital cameras and the affordability of shooting digital has caused an explosion of people getting into photography as a hobby. Photoblogging is the latest trend and some amateurs are showing talent. A photo editor stated that she thought the trend was horrifying and didn't want to see yet another digital photo produced by a non-professional. What do you think of the photoblogging trend? Do you see talent in some of the outsider art?

-- Suzanne Kathro, St. Charles, Ill.

A. I think the ubiquitous production of these "digital documents" only makes it more clear that the production of thoughtful, image-based reporting is critical. Ultimately, the mind behind the camera is what matters. I don't think I could say that I never want to see another picture from an amateur; Abu Ghraib and the British subway bombing immediately come to mind. I believe these amateur photoblogs will prove that the work of a devout, truth-telling photojournalist cannot be replaced by images of questionable veracity.

The Same Photo

Q. I've worked for three newspapers as a reporter (after Northwestern graduate J-school) and am just blown away by the quality job the NYT does every day. I can't help but notice the number of times the "Washington Post," near where I live now and the NYT have the same pictures on the front. Today both ran a photo by Oded Balilty of AP. You had his mobile artillery photo with an Israeli flag mounted on it, and the gun aimed to the right with a hill in the background. Dust and smoke everywhere. The Post had all the above, although their mobile gun was just a tank (aimed to the right) and no Israeli flag. I think you win. But how does the same picture end up so often in USAToday, the Post, the NYT, and other papers?

-- Alton K. Marsh, Frederick, M.D.

A. We all receive the same incoming feeds -- pictures that the wire services produce. In a breaking news situation like yesterday, the same picture will be selected by many of the newspapers because it is the best picture -- the one that encapsulates the event, gives the best information and is well-executed. I liked the flag better, too. Here's another example...

Archiving Digital Photos

Q. We hear more and more about the ability of digital files to "disintegrate" over time. I have read panel discussions about the so-called "digital dark ages" that will come if we contine to take digital's "permanence" for granted. Film and paper - as we all know - have analogous problems with nitrate and print deterioration respectively, but the shots themselves remain in visible and physical space, unlike today's JPEGs that reside invisibly, in bits and bytes, on a hard drive or CD. Since the photography of The Times is so highly regarded and often representative of historical/record-keeping events/people, etc., what is The Times doing to insure generations to come will be able to see images taken and stored in digital media?

-- Rob Turano, Lawrenceville, N.J.

A. We use multiple back-ups: hard-drives and DVD's, each duplicated. We also keep another copy in a safe house. As new technology develops, we will be porting our entire digital archive to it.

Photographs The Times Wouldn't Publish?

Q. Is there any picture that The Times would not publish?

-- Neale Adams

A. Yes. We would not publish a gratuitously gruesome, dehumanizing, graphic or sexual image. Some will argue we have shown some troubling graphic images, but they were not gratuitous -- the news warranted it: the tsunami, the burning of the Taliban, Abu Ghraib, Fallujah and suicide bombs in oh, too many places.

Thank You and Goodbye!

First, I would like to thank the very talented picture editors and photographers I am privileged to be working with: Thank you for all of your amazing hard work! I would like to thank all of you readers for your interest in The New York Times. And special thanks to Brent Murray of our Web site who painstakingly inserted visuals and kept this novice blogger on track. Here is a tribute to our photographers and a thank you to all the guys who liked my picture...yeah, the miracle of photography! Bye.
- Michele McNally

posted in Pro Photographers - 0 replies

Work for Hire

Xeena — Mon, 28 Aug 2006 20:57:01 GMT

I know work for hire essentially means I don't own it and can't sell it to make money and that the company has rights to it. But does it give me no rights to use it? Like if I want to use it on a website or a flyer for promo purposes, can I not?

The contract clause says "work for hire.” Company X shall own all rights to the work in its name or otherwise".

If this is the case, is it reasonable to ask them to add a clause to say I can use it for those purposes? I want to use this job to get other work like it in the future.

posted in Pro Photographers - 2 replies

Tell this guy he is full of bullshit

nss — Thu, 17 Aug 2006 17:51:18 GMT

http://www.wired.com/news/columns/0,71599-0.html

'nough said.

posted in Pro Photographers - 7 replies

my built in Pocket wizard on my Profoto Acute 2 stopped working

abjectphoto — Mon, 18 Sep 2006 20:44:33 GMT

check out my pic of Zan in the photo section of this tribe

Zan at the Pyronauts Camp after the night of the burn ©abjectphoto

ain't this cool sorta of flying in the air?

Well I never thought studio strobes, the Profotos Acute2 1200 were designed for field use, but apparently it has in this case..The bulit in Pocket Wizard stopped working at setup, we will se if it needs warranty repairs...

It i could be that it requires a cleaner electrical output than from diesel genny...anyway if those electronic maven's out there would know let me your thoughts?

Be Sure to click on this image to see full resolution this is just a thumbnail...

posted in Pro Photographers - 0 replies

Business Part

Wed, 13 Sep 2006 17:57:34 GMT

Does anyone know any good resources for the business part of being a pro?

I'd like to hear what everyone's main source of income is?
portraits? weddings? print? art? stock?

Thanks...

posted in Pro Photographers - 1 reply

2 Contracts?

Xeena — Fri, 01 Sep 2006 01:00:41 GMT

Sorry for such a newbie question but...I've been asked to shoot some people at a dinner at a convention. They had me sign a fairly basic contract. Should I also have my own contract for them to sign?

I usually do weddings and definitely have a contract for that so it feels funny *not* to have one with a client.

posted in Pro Photographers - 1 reply

30D FF Problem

Sat, 09 Sep 2006 05:11:11 GMT

Hi there,

Has anyone heard of the 30D having front focusing issues? I know this was an issue for the 20D's but as far as I know I'm the only lucky person with a 30D FF issue.

I'm planning on sending it in but the turn around time at Canon is too great right now.

Anyone heard of this? Anyone have issues with a 5D?

Cheers!

posted in Pro Photographers - 0 replies

Shooting Large Groups

Xeena — Fri, 18 Aug 2006 16:16:11 GMT

I've been asked to photograph a group of 200 salespeople at a convention. Any tips?

The client mentioned risers and I'm having a hard time getting some (I'm not in the US); any ideas for an alternative? Also, do I have to use lights for this? I guess if I can do it outside, I can get away with natural light. But I imagine my SB800 will not be enough flash to cover the 200 people (I'm thinking 5 rows of 40 shot with a 12-24 lens [digital with mag factor so that's 18-36]) if I'm working inside. Would a light on either side of me along with my flash be the way to go?

Damn, I wish I had my Dynalites with me!

posted in Pro Photographers - 3 replies

NYtimes tribute to their photographers

abjectphoto — Tue, 15 Aug 2006 05:04:14 GMT

http://www.nytimes.com/slideshow/2006/07/13/nyregion/20060714_ASK_SLIDESHOW_17.html

this is funny..

posted in Pro Photographers - 3 replies

photojournalism bias

LeonBrauer — Tue, 01 Aug 2006 21:02:22 GMT

here's how "professional photojournalists" cover, or rather exploit a human tradegy for propaganda...

http://eureferendum.blogspot.com/2006/07/milking-it.html

posted in Pro Photographers - 11 replies

Pricing

Xeena — Wed, 09 Aug 2006 20:28:32 GMT

I'm a new professional and I'm finding that I'm less and less stressed about actually performing the job of photogrphy but continually stressed about pricing. I guess this will also get easier with time and experience??? Please tell me it will.

It seems like every week I get some an inquiry for a new type of job. And I always struggle with coming up with a price for my work. I heard PDN did an article about this recently (need to get my hands on that).

Any good online resources for this? It's an added stress that I'm in another country but in a city with many American clients so prices are higher than the rest of the country but less than the US. Very hard to know how to price.

posted in Pro Photographers - 3 replies

BM 2006

abjectphoto — Sun, 06 Aug 2006 05:55:52 GMT

I will be at Pyronauts camp which is located at Anxious & 4:00 hope to see some of you in real life...

posted in Pro Photographers - 0 replies

workflow info from asmp

abjectphoto — Wed, 26 Jul 2006 02:06:07 GMT

fyi:

http://www.asmp.org/publications/updig/Version1_0.pdf

posted in Pro Photographers - 0 replies

i am looking for a fujica 690 !?

Tue, 18 Jul 2006 15:00:42 GMT

hi, i am looking for a fujica 690 medium format camera with the 100mm f3.5 lense...the one with interchangible lenses. its fairly rare. i have been waiting for many months for a decent one to appear on eabay. no luck as yet, and i am getting impateint! i want want want one. where else can i find one? or do you perhaps have one tucked away in your closet? can you help!

regards
jon

posted in Pro Photographers - 2 replies

fyi: legal rights of photographer

abjectphoto — Sun, 02 Jul 2006 05:16:22 GMT

interesting links in case any one wants to read...

http://www.kantor.com/blog/2005/12/legal_rights_of_photographers.shtml

http://www.danheller.com/model-release.html

posted in Pro Photographers - 0 replies

Travelling to PDX for Wedding Gig - Need an assistant

brettisisfisher — Sat, 10 Jun 2006 22:20:26 GMT

Hi there,
If anyone knows an assistant or a source for finding an assistant in Portland area please help. I need one for a wedding gig August 12
I can be reached at brett@brettisisfisher.com

THANKS!

posted in Pro Photographers - 0 replies

For anyone who purchased a Aperture 1.0 for $499.00

inyewokoma — Wed, 19 Apr 2006 18:48:07 GMT

Good News.

Apple is offering a $200 e-coupon good on the online Apple Store to licensed users of Aperture 1.0. Licensed users of Aperture 1.0 Academic will receive a $100 e-coupon.

www.apple.com/promo/aperture/

more than i expected from them.

posted in Pro Photographers - 0 replies

Negotiating Price

Xeena — Mon, 03 Apr 2006 04:58:44 GMT

I've been shooting weddings for a hotel/resort as the "backup photographer" to give them shots for their website. I haven't been getting paid all that much but I'm trying to view it as an internship (I've career changed into photography), foot in the door, etc. The owner has been pleased with my work and now wants me to come during the day and get more shots of the hotel. I feel like I should get paid at least what I get for the weddings, but is it reasonable to ask for more? It seems like it is but I'm just not sure how to ask. We communicate a lot by email and he basically said "I'd like you to come by and shoot some daytime shots" making no mention about money. The weddings are generally 5 hours of shooting and the day stuff will probably be less so even if I got paid the same, the hourly would be more.

Any advice?

posted in Pro Photographers - 4 replies

New tribe

abjectphoto — Mon, 27 Mar 2006 05:38:39 GMT

http://tribes.tribe.net/strobelighting

check it out and contribute...

posted in Pro Photographers - 0 replies

Stealing - What to Do?

Xeena — Thu, 16 Feb 2006 07:21:56 GMT

So this week I pick up a copy of a local paper and see a photo on the cover that looks remarkably like one of mine that has appeared in 2 other local papers. I turn excitedly to the credit page (because I had submitted photos to this paper yet never heard from them) and see someone else's name. Could this be a mixup? No, it turns out the other photog was shooting right next to me when I got my shoot. This is fine with me. More power to him and may the best man win is what I always say. But he thing is that it looks like he Photoshopped something into the photo that wasn't in his photo (but was in mine). It's not even a good job because you can see a white border around the object, the perspective is off and there's no detail or correct shadowing that should be there.

I think it's one thing to use someone's creative idea for something more artistic (and that's even debatable) but we're talking about a newspaper. Shouldn't that remain a sacred spot of photographic objectivity? I wouldn't mind if the guy took the exact same photo as I did, but it looks like he took a similar photo, saw mine and liked it better, and then changed his photo.

Any ideas of what I can/should do about this?

posted in Pro Photographers - 3 replies

Giving It Away (for free or reduced prices)

Xeena — Mon, 13 Feb 2006 02:36:42 GMT

I've recently decided to pursue photography for pay. My new situation has another twist in that I'm doing it in Mexico. Since this is a new world, I'm still trying to figure out exactly what I want to be doing. I've shot a couple jobs and have been paid (although I still don't know if the amount was reasonable; I'm still trying to get a handle on the photo economy here). But I've also started to pursue newspapers and so far have donated my photos for the opportunity to have a few tear sheets, get my name out there, and establish connections. The US may be the same but it really seems that connections are what make or break you here.

I know this has been debated in other forums but I'd like input from this group. I'm well aware that giving it away for free or a reduced price debases the profession and I really don't want to be doing that. But it's a reality that it's hard to break in and in order to try to pay some bills, it might be necessary to do this. I guess I'm trying to decide where to draw the line. I was recently asked to photograph a benefit for a local orphanage, of course as a volunteer. I'm considering doing this because 1.)I believe in the organization and feel good about helping them, and 2.) It's a good oppportunity to network. But I know I can't keep doing this forever both for my own self-worth dignity (and need to feed myself!) and the dignity and worth of the profession.

I'd especially like to hear from anyone with experience working overseas.

posted in Pro Photographers - 2 replies

new TOU rights grab

RangerTrapper — Wed, 21 Dec 2005 07:14:28 GMT

Buried in the new TOU Tribe now claims a perpetual royalty free licence to anything you post .... you have been warned.

posted in Pro Photographers - 8 replies

Photo Studio Available in Santa Monica CA

antoine — Mon, 23 Jan 2006 02:20:17 GMT

Photographers
We are offering a special rate for shooting at my studio in Santa Monica, CA.
2 hours per week for $ 500 per month. (Other packages available)
2000 sq/ft with beautiful natural light.
Strobes and backgrounds available.
For more information go to www.bonsorte.com
Any question call (310) 450 5200.

posted in Pro Photographers - 0 replies

Hosting Services/Online Print sales

genex — Wed, 04 Jan 2006 06:24:36 GMT

Hey do you all use various services? We've launched our service which we initially built several years ago and have been adding features to ever since. It obviously competes with Printroom, etc. but we're looking to build out some cool new features that photographers would really like to make it even more compelling.

If you wanna take a test drive you can sign up for free now during our open beta (pro.orangeexposure.com). Any feedback is appreciated too as we've got our development team ready to build out new functionality.

Also, any of you all at Imaging USA this month, we'll be there.

Thanks,
gene

posted in Pro Photographers - 0 replies

Listing Other services on your Professional Site

Alxndr — Tue, 01 Nov 2005 00:28:11 GMT

What does this tribe think about listing other services, like Wedding/Event photography, on your professional site? I've resisted doing it, instead setting up a sub-page which can't be accessed from my main site, only by typing in the url. I'm just worried that certain magazines that see that I shoot weddings might think less of my professional standing.

Don't get me wrong. I love shooting weddings but I'm concerned about how it appears to people who want to hire me for other things. I've noticed that some photographers list everything that they do from travel to fashion to baby photos, etc. And I realize that you can't have seperate sites for all your services. Thoughts?

posted in Pro Photographers - 4 replies

Digital photography tips and techniques

jahangol — Sat, 03 Dec 2005 23:37:06 GMT

http://www.cambridgeincolour.com/tutorials.htm
Fundamentals, Advance

posted in Pro Photographers - 7 replies

best Nikon tethered software (Mac/OSX)

Sun, 18 Dec 2005 07:34:11 GMT

Anyone make a recommendation?

Nikon D2X, Mac.

I am looking for fast transfer/decode/view of images.

Thanks
.//Daren

posted in Pro Photographers - 1 reply

Cross post on tether shooting with digital

byronsmith — Fri, 02 Dec 2005 05:04:25 GMT

I have a fuji finepix s2 pro anyone know any software that will allow for tether shooting .

posted in Pro Photographers - 2 replies

Apple's new program "Aperture"

inyewokoma — Fri, 21 Oct 2005 03:33:54 GMT

apple.com/aperture

Is any one as excited as I am about the potential of this program for managing studio, clients and jobs?

posted in Pro Photographers - 16 replies

Saving or Deleting Photos

Xeena — Tue, 06 Dec 2005 20:22:41 GMT

Do you keep every image you shoot even if it's not great? How do you determine what to keep and what to delete? Where do you draw the line?

posted in Pro Photographers - 4 replies

losing color - Save For Web -

wyoming22 — Fri, 02 Dec 2005 22:54:38 GMT

Is there any trick I don't know of to reduce how much color loss occurs when you Save For Web from Tiff in photoshop.

They still look pretty good, but compared to how much color I have in the Tiff file, the web jpeg isn't nearly as deep.

posted in Pro Photographers - 9 replies

LOOK HERE! i want to know about creations in motion--->

asailboat — Sun, 04 Dec 2005 11:56:11 GMT

i am instrested in creations of my own and of the other weird creatures and theres,

i propose that this is a point in space to contemplate others marvolous work and display freely your own.

heres mine http://unsungamerica.blogspot.com

whats yours?

posted in Pro Photographers - 0 replies

blown highlights

wyoming22 — Tue, 22 Nov 2005 18:15:43 GMT

I am using a D70, which I know has some issues with blown highlights.

how can I get around this when I'm shooting Jpegs instead of RAW? the histogram is balanced and the images are properly exposed, but when the sunlight is really harsh, especially on sweaty skin or blonde hair, I get blown high lights. see examples: http://people.tribe.net/wyoming22/photos

posted in Pro Photographers - 17 replies

The future of photograohy

Tue, 29 Nov 2005 17:53:51 GMT

the age of digital photography is here to stay but it raises a whole bunch of issues about the future of our proffession...

http://media.guardian.co.uk/newmedia/story/0,,1648879,00.html

posted in Pro Photographers - 4 replies

2006 Photography Calendars

Charlie — Wed, 16 Nov 2005 16:30:26 GMT

Hi!

I recently made a couple 2006 calendars using my photographs at the print-on-demand website, Lulu.com.

http://www.lulu.com/

And I thought you guys might like to (1) learn how you can make (and sell) calendars of your own work (for free) and/or (2) see these:

2006 Yosemite AiR (Artist in Residence) Calendar

http://www.lulu.com/content/177414

2006 Legends of American Motocross Calendar

http://www.lulu.com/content/177414

Enjoy!
Charlie
--------
Charlie Morey
Charlie@digitalphotography.tv
http://www.digitalphotography.tv

posted in Pro Photographers - 6 replies

Hello, hello!

BabeSoDelicious — Tue, 15 Nov 2005 23:25:44 GMT

Anyone use portable recorders to help document their photo stories?

I am going to get either the Sony MZ-M100 or the Edirol R-1. Not sure about the Marantz. If you have experience with these recorders, I'd welcome your thoughts, whether pro and con.

Thanks!

BSD

posted in Pro Photographers - 0 replies

Scanner input?

JasonthePhotographer — Mon, 14 Nov 2005 18:48:13 GMT

Hey;
I am considering getting a new film scanner.
I already have a nice epson flatbed for my large and medium format and 35mm but need one that I can feed long strips of 35mm film into and do a lot less handling. I devleop my own E-6(slides) and it would be sweet if I could feed a machine the whole roll and go do something else for a while.
Suggestions?
BTW, not rich, not poor, but not rich either, happy, landed, grounded!
Jason
Also, I run a Powerbook G4 and a hotrod XP PC too so platfom is not too important. Well , actually it is I love my Powerbook but will probably not tdo any scanning while I am travelling : )
J.

posted in Pro Photographers - 0 replies

Not everyone thinks they are a pro. Some just say so.

XanderPiX — Thu, 27 Oct 2005 21:33:02 GMT

Hi everyone,

I'm an amateur photographer with about two months of shooting experience. I'd appreciate any comments, critique, etc. about my photography. I'm also looking for creative collaboration with anyone interested in confronting my AMATEURISH lens. I am still very inexpensive and practice TFCD sessions on a very rare occasion ;) . I live in L.A.

Thank you.

posted in Pro Photographers - 5 replies

One more FREE site for Models and Photographers to interact...

XanderPiX — Wed, 02 Nov 2005 01:31:13 GMT

At www.thejigga.com Models and Photographers can create a FREE gallery with up to 5 images. Each image will be a link to their existing website (should they have one). Contact information, including phone number and/or e-mail address can also be displayed.

Check it out.

posted in Pro Photographers - 1 reply

Everyone thinks they are a pro

sueshi — Fri, 25 Mar 2005 17:07:31 GMT

I noticed that with the increase and ease of digital cameras now the average person thinks they can shoot a wedding or portraits like a pro. Has anyone noticed this influx of amateurs cutting into their wedding or other type of business? I see these people undercutting a professional's rates, shooting weddings for peanuts and costing many professionals photo jobs. It's unfortunate that many couples base they choice of wedding phtographer solely on price. I have found I need to step up customer service and also educate my clients as to why using a pro is so much more beneficial for them.

Thoughts?

posted in Pro Photographers - 73 replies

VOLUNTEERS NEDDED for Focus on AIDS Photography Auction (FOA)

izz — Thu, 20 Oct 2005 04:56:18 GMT

Focus on AIDS Photography Auction (FOA) needs YOUR HELP!
FOA is the largest vintage and contemporary photography auction to support AIDS Research. It has raised over 2.5 million dollars.
ALL money goes to AIDS research and our Children's Hospital in India. Your help as a volunteer would be greatly appreciated on following days:
Friday, Nov. 4th -Preview Party and
Friday, Nov. 11th - Event

For more information please go to:
http://www.focusonaids.com/FOA11/html/frameset.html

If you are available to volunteer, please contact:
Francesca at: info@focusonaids.com

PS.
From my past experience as a volunteer, I had rare opportunity to view beautiful and inspiring imagery done by well known photographers, great opportunity to network within photo and art community and lots of fun! If you are reliable and available to help, I strongly recommend it.
Izabela

posted in Pro Photographers - 0 replies

Wanna Rant about Shutterstock

karlb — Tue, 11 Oct 2005 17:34:22 GMT

I guess www.shutterstock.com is paying photographers 20¢ a use for stock images. See the "Re: Great idea for nature photography" thread on the Photography tribe.

Maybe it's inevitble but there goes the neighborhood

Peace

Karl

posted in Pro Photographers - 2 replies

Anyone else going to PhotoPlus Expo next week?

Karen — Wed, 12 Oct 2005 04:32:38 GMT

It would be great to connect with other Tribe shooters! Or to get tips about must-see or must-do gallery exhibits, restaurants, nightclubs, etc. in NYC. Please post if you're going!

posted in Pro Photographers - 1 reply

Shared copyright?

sueshi — Mon, 10 Oct 2005 16:08:28 GMT

Has anyone ever heard of such a thing?

I am trying to arrange to shoot a big concert event in SF soon and the promoter wants me to sign a contract that says we "will share the copywriter 50/50". He then wants a set of prints delivered to him one week after the show.

In other words I think he wants to use the photos for free in exchange for access.

If he uses the prints in any type of media I will receive a copyright notice in the credits and be paid a small percentage of the performers' net proceeds.

I have never heard of such a thing and it smells of scam to me.

posted in Pro Photographers - 6 replies

Insuring Equipment

Xeena — Thu, 22 Sep 2005 18:07:17 GMT

How do you insure your equipment?

In the past I was able to do it through a renters/homeowner policy because I wasn't making my primary income from photography. My agent said that technically if you're a full time pro, the renters/homeowners wouldn't cover it and I needed some other kind. My insurance covered my equipment when I travelled because it covered "off premises".

Now I'm in somewhat of a unique situation. I'm moving to Mexico and I haven't started business there yet. So I can't get homeowners/renters in the US because I don't have a home here. Any idea of insurance options for equipment?

posted in Pro Photographers - 4 replies

scanning big negs

Tue, 06 Sep 2005 20:53:48 GMT

i am considering getting a 6x9 camera. i would want to scan the transparencies into digital. i have no no idea of the costs involved in having such large trasparencies scanned (high quality); it may not be worth my while. you may say - purchase a scanner; yes, more money, but a future possibility. can you help put things in perspective for me?

i stay in the uk, i do not know if local stores like jessops scan 6x9, and for resonable prices.

regards
J

posted in Pro Photographers - 8 replies

If you take photos for someone's website..

adrienne — Tue, 20 Sep 2005 21:24:50 GMT

If you take pix for websites do you put your name in the pictures like Copyright or photos by...
Would love to know..

tnx and have a short day!!

posted in Pro Photographers - 8 replies

Transparency scanner recap

Jamus — Fri, 30 Sep 2005 18:22:31 GMT

Been chugging along with my old mac dedicated for a Minolta Scan-Dual and Arcus ll and now it's time to take bag 'em for a leep to the 21st C. and a firewire or usb 2.0 flatbed w/ trans. adapter. A few friends have raved about the Epson Perfections w/ Digi Ice; thought I'd poll what y'all are running with your G5s w/ Tiger?

posted in Pro Photographers - 0 replies

Stock Photography

Thu, 16 Dec 2004 04:14:52 GMT

Hey everyone;

I use to do quite a bit of stock photography. This and editorial is how I made money from photography, which never added up to a living. Hence, I am back in school pursuing my other love: science. Anyway, I'm rep'd by Getty Images and they now, and have been for the last few years, are very structured in what they want from their photogs. I still shoot occasionally and have work I'd like to submit for stock.

Q: Does anyone have a recommendation on a stock house that just likes good images?

Thanks for any recommendations.

posted in Pro Photographers - 14 replies

Resize pictures in IPhoto...

adrienne — Sat, 10 Sep 2005 04:39:31 GMT

How???

Don't tell iamgesize because thee is no such thing in here!! :))
Want to put pic on the homepage but in small format without using the Adobe!!

I hope everyone is well! Very quiet lately!

Tnx :))

posted in Pro Photographers - 16 replies

Artificial lighting..

adrienne — Sat, 24 Sep 2005 22:23:12 GMT

Anybody has any suggestions what to buy?

I would love to have one light, that is probably spotlight, in a very dark room to lighten up a nude body?
Any suggestion how many watts I need?
I am looking for something off the wall that I can move around, and gives nice natural-ish light!!!

Thank you!! :))

posted in Pro Photographers - 1 reply

antonio olmos

Fri, 23 Sep 2005 00:26:30 GMT

www.antonioolmos.com

I have been a pro photographer since 1988 and this website is my first online portfolio. I would appreciate all comments on them..on the content and design and anything else that takes your fancy.

photography is first an idea, a passion, cameras and technologies will come and go and we are here hopefully to discuss photography beyond gear..anyway....i look forward to your comments

antonio

posted in Pro Photographers - 2 replies

Discussion Topics

nevets — Sun, 25 Sep 2005 01:00:40 GMT

a note from your moderator...

This Tribe was created to talk about the Business of full-time working photographers.

If you are not a full time shooter, but still want to learn more about what it takes to run a photography business, go ahead and ask questions - but please keep them on the business side of things.

This is NOT a general photography disccussion area. Questions about software, camera equipment and whatnot can be better addressed by other groups on Tribe.

posted in Pro Photographers - 0 replies

Mitsui CD/DVD media sources

Jamus — Fri, 23 Sep 2005 18:25:41 GMT

Wondering where some of you are finding your best pricing and who you like buying your Mitsui Gold media from?

posted in Pro Photographers - 0 replies

Bay Area folks - interesting looking class

mrdodgy — Wed, 21 Sep 2005 23:03:24 GMT

Found this this morning:

http://www.asucartstudio.org/pages/p-introCommerc.html

Very impressed by the curriculum and the price. Registered myself most immediately.

I have nothing to with this apart from being a student.

posted in Pro Photographers - 0 replies

Pro-Bono Shooting

Xeena — Wed, 07 Sep 2005 17:10:58 GMT

What's your protocol for shooting an event pro-bono? I've agreed to volunteer my services for a non-profit org to shoot a benefit dinner. They've told me that they'll give me photo credit if my photos are used in their publications.

Do you give them an invoice with what you'd normally charge and then mark that it's pro-bono, along with an agreement about using the photos?

Thanks!

posted in Pro Photographers - 8 replies

Draining Batteries Before a Shoot

Xeena — Wed, 07 Sep 2005 17:02:42 GMT

I've read/been told that the first few times at least you should fully discharge rechargeable batteries before you charge them. Is there an easy way to do this? I did it for my Nikon D70 by depressing the shutter until it wouldn't allow it before the battery was drained. But I didn't like the idea of needlessly working the shutter. Any ideas?

Also how many batteries do you take on a shoot? Is 2 enough for a camera? With 2 sets of rechargeable for your flash(es)?

Thanks.
Xine

posted in Pro Photographers - 11 replies

CELEBRITY PHOTOS ~ A QUESTION

pixievision — Mon, 12 Sep 2005 14:34:46 GMT

hi. i just shot my first party with celebrities and i'm not sure what i am allowed to do with them.
http://www.pixievisionproductions.com/gallery/peta
it was the people for the ethnical treatment of animal's 25th anniversary at paramount studios a few nights ago... i am the photographer for one of the bands that played. that's how i got in. then paramount gave me a 'staff' badge after i told them that i'm a photographer. i noticed the other photographers and other press got hurded in in other ways but i am typically treated like the band i travel with, as 'talent' not 'press'. anyhow, so now i've got these kewl pix of celebrities and i'm curious how i can make money with them? please help a newbie celeb photog out? is there a book y'all recommend to learn these things? any advice would be appreciated~ thanks so much!
~pixie
pixievisionproductions.com

posted in Pro Photographers - 2 replies

Noise Ninja or Neat Image?

Miz Mish — Wed, 07 Sep 2005 19:12:30 GMT

I'm looking to purchase the pro version of one or the other for batch processing capabilities. I've heard both mentioned here, but would love to hear from folks who have used both.

Thanks!

Michelle

posted in Pro Photographers - 10 replies

Graduate Programs?

Darter02 — Mon, 01 Aug 2005 04:17:20 GMT

I am considering trying to earn a Master’s in photo journalism and have begun to check out the various schools.

I am wondering how many members here have their degree and where they earned it as well their thoughts on the school.

Thank you.

posted in Pro Photographers - 8 replies

Online shop/cart/store advice

uniquenudes — Tue, 30 Aug 2005 23:37:22 GMT

I'm shooting a corporate gig next week in Vegas and the company wants me to be able to sell prints from a website they can purchase. I already have an online store for my nudes and I'm not keen about watering it dowm with lots of convention photos.

What I need is this: a place (like deviantART) that allows you to upload images where people can come and buy prints, where you get a share of the profit. I would use dA but it's an art print place and these don't really qualify. I know snapfish & ofoto allow people to order prints, but I don't beleive the photographer sees any profit from that, correct? I don't mind set-up fees or profit-sharing, I just need a place to sell my non art prints. I have 10 days to set this up.

-- Richard

posted in Pro Photographers - 5 replies

D70s & concert lights

mrdodgy — Fri, 26 Aug 2005 21:10:37 GMT

I have a new D70s. It's so nice. But ...

I do a large amount of concert photography, often for the local alternative weekly, for bands, record labels, etc. I've been a film-using hold-out, I love my F5 and Fujipress.

So last night, I shot a show at a mid-sized venue for fun (and maybe after-sale profit) but not on assignment so I could take some risks. Just took the D70s and some wide prime lenses - no flash allowed. It's the kind of venue that you can JUST ABOUT get away without flash - if I was shooting film it would be at ISO 1600, wide open primes at f1.4/1.8 and bracing carefully to hand-hold at 1/60s.

Using the same techniques with the digital, the results were horrible. I did get some usable (and sellable) shots, but anything involving red stage lights were totally washed out and unfixable.

Any suggestions?

posted in Pro Photographers - 2 replies

SOS I dropped my 20D

adrienne — Sun, 21 Aug 2005 03:05:55 GMT

I dropped my 20D! Everything works fine the olny thing that it takes longer to take the shot!!!! What is wrong???
I bought it 1 month ago, garanty is gonna take it?
I am on the edge of nervous breakdown!

posted in Pro Photographers - 3 replies

Anyone pregnant and wants ART NUDE?

adrienne — Fri, 19 Aug 2005 06:11:09 GMT

I am looking for someone for my ideas, in San Francisco!
Talking about ART, staying mysterious, focusing on the beauty of pregnancy and sensual as much as you feel comfortable with!

Cheers

posted in Pro Photographers - 0 replies

Sigma 17-35 2.8-4 versus Canon 17-40 f4 versus Canon 16-35 f2.8

adrienne — Thu, 18 Aug 2005 01:17:47 GMT

I know that Canon 16-35 f2.8 is the nicest! And most expensive!
Anyone has the Sigma?
Would I be fine with the Canon 17-40 f4 or I need those 2 extra stops?

posted in Pro Photographers - 1 reply

Color Output for Exhibition

e-n-I-g-M-a — Wed, 17 Aug 2005 08:48:37 GMT

Okay folks, I'm in a quandry. I've been doing a lot of output for exhibitions via inkjet on Arches 100% rag cold pressed watercolor paper, and until now it has been *exactly* what I wanted (archival, luscious texture, good saturation). However, for some inexplicable reason, the inksets just aren't rendering the skintones smoothly on some nudes I did under hotlights, its in the transition areas between light and dark...very rough grainy dots instead of the smooth transitions I'm getting on things shot under flash...

...any thoughts?

...and what do you think of using glossy prints from a Frontier 370? I've always *despised* glossy prints for my stuff, and for some reason have never thought that they were really great for exhibition, anyone (please disagree with me) disagree, am I being far too picky.....I live in Taiwan, and the *only* output for digital files available is to Fuji Crystal Archive gloss paper (errr, and I may be over a barrel, as I suspect that sending .tiff files to the U.S. and getting the prints here may take too long)....

posted in Pro Photographers - 1 reply

Black and white

adrienne — Sat, 06 Aug 2005 07:06:10 GMT

Any good suggestion how to make B@W pictures???

Not too much contrast but not gray either!

tnx!!!

posted in Pro Photographers - 11 replies

High ISO

adrienne — Mon, 08 Aug 2005 16:15:10 GMT

Anyone has any issues with high ISO??
Do you use it in low lights? Any clients have problemas with it?

tnx

posted in Pro Photographers - 22 replies

Recommendations for Web site search engine plus lightbox?

Karen — Thu, 11 Aug 2005 22:18:08 GMT

I am looking at a combination site search engine with lightbox that goes for just short of $300 (150 GBP) from PhotographersDirect.com. Are there other out-of-the-box solutions of this type that people are using and can recommend?

posted in Pro Photographers - 0 replies