Ebook-1K-Stock-Photography.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Ebook-1K-Stock-Photography.Pdf TABLE OF CONTENTS Stock photography explained & HOW TO MAKE YOUR FIRST $1,000 .......................................................7 Stock Photography and the Dynamics of the Industry ..............................................................................7 Advantages and Disadvantages of Stock Photography ..............................................................................7 Types of Stock Photography .................................................................................................................................8 Royalty-Free..........................................................................................................................................................8 Royalty-Managed ................................................................................................................................................8 Exclusive .................................................................................................................................................................9 Non-Exclusive .....................................................................................................................................................9 Making Up Your Mind ..............................................................................................................................................9 Dealing with Rejections .......................................................................................................................................10 So How Long Does it Take to Make the First $1K? ...................................................................................10 What Images Sell: Research, Ideas & Inspiration .............................................................................................13 Inspiration - Stefan Holm ....................................................................................................................................14 What are his bestselling images? .............................................................................................................14 The Kind of gear that he uses .....................................................................................................................17 Mykyta Starychenko (Nick) ................................................................................................................................18 Some tips from Nick .......................................................................................................................................19 Sample images making Mykyta Starychenko well over $1k ................................................................20 So what type of images sell? ..............................................................................................................................22 Quality ..................................................................................................................................................................22 Space for Copy ..................................................................................................................................................23 Take the Shutterstock Example .................................................................................................................23 Understand the Visual Language ..............................................................................................................24 Show Cultural Diversity in your Imagery ..............................................................................................24 Shooting Editorial Content ..........................................................................................................................24 Shoot Different Versions of the Same Scene, Model, Pose, etc. ....................................................24 A few Reasons why your Images Can Get Rejected ..................................................................................25 It has not been Reviewed Properly ..........................................................................................................26 Reference to brand names, showcasing logos, likeness..................................................................26 Model release ....................................................................................................................................................26 Equipment: What Gear You Need to Succeed in Stock Photography ......................................................27 Camera ........................................................................................................................................................................27 .................................................................................................................28 .......................................................................................................................28 Benefits of a full-frame camera Megapixels matter...........................................................................................................................................28 Benefits of an APS-C camera Lens ..................................................................................................................................................................................28 All-purpose Lenses .........................................................................................................................................29 Macro Lenses.....................................................................................................................................................29 Telephoto lenses ..............................................................................................................................................29 Wide angle lenses ............................................................................................................................................29 Perceptual Megapixel ............................................................................................................................................30 Tripod ..........................................................................................................................................................................30 Cable-release ............................................................................................................................................................31 Lights ...........................................................................................................................................................................31 Continuous lights.............................................................................................................................................31 Speedlights .........................................................................................................................................................31 Studio Strobes ..................................................................................................................................................31 Large Monitor...........................................................................................................................................................32 Monitor Calibration Tool .....................................................................................................................................32 The DIY Approach for Gears ..............................................................................................................................32 Lenses ...................................................................................................................................................................32 Lights ....................................................................................................................................................................33 Renting ........................................................................................................................................................................33 Make the most of Joint Sessions, join force with other stock photographers ..............................34 Post Processing: Tips To Improve Your Pictures after taking them (in Lightroom and Photoshop).................................................................................................................................35 Color Correction ......................................................................................................................................................35 Dealing with Noise .................................................................................................................................................36 In Photoshop - Using the Blur Tool ..........................................................................................................36 Using the Color Channels .............................................................................................................................37 In Lightroom ......................................................................................................................................................37 Color Fringing / Chromatic Aberrations ......................................................................................................37 Moiré ............................................................................................................................................................................38
Recommended publications
  • What Resolution Should Your Images Be?
    What Resolution Should Your Images Be? The best way to determine the optimum resolution is to think about the final use of your images. For publication you’ll need the highest resolution, for desktop printing lower, and for web or classroom use, lower still. The following table is a general guide; detailed explanations follow. Use Pixel Size Resolution Preferred Approx. File File Format Size Projected in class About 1024 pixels wide 102 DPI JPEG 300–600 K for a horizontal image; or 768 pixels high for a vertical one Web site About 400–600 pixels 72 DPI JPEG 20–200 K wide for a large image; 100–200 for a thumbnail image Printed in a book Multiply intended print 300 DPI EPS or TIFF 6–10 MB or art magazine size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1800 x 1200 pixels. Printed on a Multiply intended print 200 DPI EPS or TIFF 2-3 MB laserwriter size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1200 x 800 pixels. Digital Camera Photos Digital cameras have a range of preset resolutions which vary from camera to camera. Designation Resolution Max. Image size at Printable size on 300 DPI a color printer 4 Megapixels 2272 x 1704 pixels 7.5” x 5.7” 12” x 9” 3 Megapixels 2048 x 1536 pixels 6.8” x 5” 11” x 8.5” 2 Megapixels 1600 x 1200 pixels 5.3” x 4” 6” x 4” 1 Megapixel 1024 x 768 pixels 3.5” x 2.5” 5” x 3 If you can, you generally want to shoot larger than you need, then sharpen the image and reduce its size in Photoshop.
    [Show full text]
  • Ethics in Photojournalism: Past, Present, and Future
    Ethics in Photojournalism: Past, Present, and Future By Daniel R. Bersak S.B. Comparative Media Studies & Electrical Engineering/Computer Science Massachusetts Institute of Technology, 2003 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER, 2006 Copyright 2006 Daniel R. Bersak, All Rights Reserved The author hereby grants to MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _____________________________________________________ Department of Comparative Media Studies, August 11, 2006 Certified By: ___________________________________________________________ Edward Barrett Senior Lecturer, Department of Writing Thesis Supervisor Accepted By: __________________________________________________________ William Uricchio Professor of Comparative Media Studies Director Ethics In Photojournalism: Past, Present, and Future By Daniel R. Bersak Submitted to the Department of Comparative Media Studies, School of Humanities, Arts, and Social Sciences on August 11, 2006, in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies Abstract Like writers and editors, photojournalists are held to a standard of ethics. Each publication has a set of rules, sometimes written, sometimes unwritten, that governs what that publication considers to be a truthful and faithful representation of images to the public. These rules cover a wide range of topics such as how a photographer should act while taking pictures, what he or she can and can’t photograph, and whether and how an image can be altered in the darkroom or on the computer.
    [Show full text]
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Sample Manuscript Showing Specifications and Style
    Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic.
    [Show full text]
  • Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E
    Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc.
    [Show full text]
  • The Castle Studies Group Bulletin
    THE CASTLE STUDIES GROUP BULLETIN Volume 21 April 2016 Enhancements to the CSG website for 2016 INSIDE THIS ISSUE The CSG website’s ‘Research’ tab is receiving a make-over. This includes two new pages in addition to the well-received ‘Shell-keeps’ page added late last News England year. First, there now is a section 2-5 dealing with ‘Antiquarian Image Resources’. This pulls into one News Europe/World hypertext-based listing a collection 6-8 of museums, galleries, rare print vendors and other online facilities The Round Mounds to enable members to find, in Project one place, a comprehensive view 8 of all known antiquarian prints, engravings, sketches and paintings of named castles throughout the News Wales UK. Many can be enlarged on screen 9-10 and downloaded, and freely used in non-commercial, educational material, provided suitable credits are given, SMA Conference permissions sought and copyright sources acknowledged. The second page Report deals with ‘Early Photographic Resources’. This likewise brings together 10 all known sources and online archives of early Victorian photographic material from the 1840s starting with W H Fox Talbot through to the early Obituary 20th century. It details the early pioneers and locates where the earliest 11 photographic images of castles can be found. There is a downloadable fourteen-page essay entitled ‘Castle Studies and the Early Use of the CSG Conference Camera 1840-1914’. This charts the use of photographs in early castle- Report related publications and how the presentation and technology changed over 12 the years. It includes a bibliography and a list of resources.
    [Show full text]
  • Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor
    ® Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor Features The Foveon FO18-50-F19 is a 1/1.8-inch CMOS direct image sensor that incorporates breakthrough Foveon X3 technology. Foveon X3 direct image sensors Foveon X3® Technology • A stack of three pixels captures superior color capture full-measured color images through a unique stacked pixel sensor design. fidelity by measuring full color at every point By capturing full-measured color images, the need for color interpolation and in the captured image. artifact-reducing blur filters is eliminated. The Foveon FO18-50-F19 features the • Images have improved sharpness and immunity to color artifacts (moiré). powerful VPS (Variable Pixel Size) capability. VPS provides the on-chip capabil- • Foveon X3 technology directly converts light ity of grouping neighboring pixels together to form larger pixels that are optimal of all colors into useful signal information at every point in the captured image—no light for high frame rate, reduced noise, or dual mode still/video applications. Other absorbing filters are used to block out light. advanced features include: low fixed pattern noise, ultra-low power consumption, Variable Pixel Size (VPS) Capability and integrated digital control. • Neighboring pixels can be grouped together on-chip to obtain the effect of a larger pixel. • Enables flexible video capture at a variety of resolutions. • Enables higher ISO mode at lower resolutions. Analog Biases Row Row Digital Supplies • Reduces noise by combining pixels. Pixel Array Analog Supplies Readout Reset 1440 columns x 1088 rows x 3 layers On-Chip A/D Conversion Control Control • Integrated 12-bit A/D converter running at up to 40 MHz.
    [Show full text]
  • ABC: Enabling Smartphone Authentication with Built-In Camera
    ABC: Enabling Smartphone Authentication with Built-in Camera ​Zhongjie Ba↑∗ , ​Sixu Piao↑∗ , ​Xinwen Fu↑� , ​Dimitrios Koutsonikolas↑∗ , ​Aziz Mohaisen↑� and ​Kui Ren↑∗ ∗ � 1 Camera Identification: Hardware Distortion • Manufacturing imperfection leads to pattern noise: Photo Response Non-Uniformity (PRNU)[1] Non-Uniform Pixel Unique Fingerprint! 2 [1] LUKAS, J., FRIDRICH, J., AND GOLJAN, M. Digital camera identifi- cation from sensor pattern noise. IEEE Transactions on Information Forensics and Security 1, 2 (2006), 205–214. Camera Identification: Fingerprint Matching • Given an image, determine if it is captured by a camera of interest Threshold Filter Similarity Query image Noise Residue Compare (PCE) Extract The final identification accuracy is mainly determined by the quality of each fingerprint (target & reference). Reference Fingerprint Training images 3 Image source: https://www.packtpub.com/networking-and-servers/mastering-python-forensics; From Camera Identification to Smartphone Identification • Smartphone cameras have • Smartphones are widely displaced the conventional used in security sensitive digital camera tasks 4 Image source: https://techdigg.com/2017/05/12/apple-wants-you-to-be-a-professional-iphone-7-photographer/; https://www.nextpowerup.com/news/28115/google-brings-android-pay-to-uk/ Smartphone Camera VS Digital Camera 5 https://lensvid.com/technique/why-depth-of-field-is-not-effected-by-sensor-size-a-demonstration/ Smartphone Camera: Stronger Non-Uniformity • The reduction in dimension amplifies the pixels’ non-uniformity Same level of manufacturing imperfection Stronger non-uniformity 6 Smartphone Camera: Higher Identification Accuracy • One image alone can uniquely identify a smartphone camera 30 iPhone 6 and 16,000 images collected from 10 Galaxy Note 5 Amazon Mechanical Turk 7 Smartphone Authentication Scenario • The user proves her identity to the verifier using her smartphone as a security token • The verifier authenticates the user’s smartphone by checking the fingerprint of its built-in camera 1.
    [Show full text]
  • Westminster Research
    Westminster Research http://www.westminster.ac.uk/research/westminsterresearch Picturing the World's news: news photography, cultural production, Thomson Reuters and the international process of news making Jonathan Ilan School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2012. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e- mail [email protected] Picturing the World’s News: News Photography, Cultural Production, Thomson Reuters and the International Process of News Making Jonathan Ilan A thesis in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy February 2012 Abstract In this research the production process of news pictures at Thomson Reuters international multimedia news agency is examined along its ‘local’ and ‘international’ key moments and sites, and the career of Reuters photographs- from the moment they are conceived as ideas to their purchase- is followed and explored at the ways that at every stage they are used, chosen, sold and processed as 'Reuters' products.
    [Show full text]
  • Photography Days at IWM Duxford
    Wednesday 18 May 2016 Photography Days at IWM Duxford On Wednesday 25 May, Sunday 26 June and Saturday 13 August, budding photographers can improve their camera skills by capturing superb historic aircraft at IWM Duxford’s Photography Days. The days are specially designed for entry-level photographers, but will also cater for enthusiasts wishing to improve their skills. The purpose of these sessions is to encourage photographers to move away from the auto mode on their cameras and learn to use basic manual operations. Aviation Photography Days are themed to reflect IWM Duxford’s 2016 air shows: Wednesday 25 May – American Classic Aviation Photography Day Sunday 26 June – Vintage British Aviation Photography Day Saturday 13 August – RAF Second World War Photography Day The Photography Days are led by internationally-published professional aviation photographer Darren Harbar, whose photography is featured in national and international magazines. Each Photography Day will start with a practical exercise using an indoor subject, designed to teach photographers how to best capture aircraft in a museum. During the afternoon, the Photography Day will focus on portrait photography in an outdoor setting using historic aircraft and a model dressed in period clothing. The Photography Days will conclude with an opportunity to photograph a flying aircraft. Darren Harbar, professional photographer and instructor says: “I've run several aviation photography workshops now, and my clients have found the content to be both informative and easy to learn. They are the perfect way to get more from a DSLR camera at an air show.” – Ends – For further press information please contact: Rachel McClure 01223 499 373 [email protected] Notes to Editors All workshop places can be booked online at http://www.iwm.org.uk/events/iwm- duxford/photography-days.
    [Show full text]
  • Enhancing the Home Automation Experience
    Enhancing the home automation experience When it comes selecting the appropriate CMOS image sensor for a home automation IoT device what do you need to take into account? Radhika Arora explains ensors are at the heart of the are called zoom lenses, those with the lens, and the focal length of the Internet of Things (IoT) Ixed focal length are prime lenses. lens. Larger aperture (smaller f- revolution and most Within Ixed focal length, lenses of number) results in a shallower DOF. Sapplications will deploy multiple shorter focal length are called wide- Closer focus distance results in a sensors including an image sensor. angle lenses (14 to 35mm, 114 to shallower DOF, which is appropriate for The more compelling home automation 64°). Longer-focal-length lenses are artistic imaging. It focuses on the products tend to deploy cameras referred to as long-focus lenses subject at hand and dims out the which are commonly based around a (85mm to >300mm, 30° to <1° FOV) background, highlighting the main CMOS image sensor and this, coupled and are used to magnify distant object. For a given f-number, increasing with sophisticated computer vision objects. the magniIcation, either by moving the algorithms, look set to become the For example, home security camera closer to the subject or using ‘brains’ of the smart home. cameras which make up a large a lens of greater focal length, Field of View (FOV) is what is visible portion of the IoT typically have wide decreases the DOF; decreasing through the camera at a particular angle Ixed focal length lenses with magniIcation increases DOF.
    [Show full text]
  • Graphic Standards.Indd
    COLORADO SBDC NETWORK GRAPHIC STANDARDS CONTENTS Logo . 2 Color Palette . 3 Fonts . 4 Fact Sheets . 5 LOGO The Colorado Small Business Development Center (SBDC) logo is comprised of four colors and visual references to both the Colorado state fl ag and mountainous topography. LOGO USAGE Size The minimum size of the SBDC logo is 3/4” in width. Please do not reproduce logo in a size smaller than 3/4” as legibility issues can arise. Area of Isolation In order to maintain the logos clarity and integrity, an area of isolation around the logo is necessary. The minimum “clear space” around the logo should be 1/4”. This area should be kept free of graphics and text. LOGO Correct Usage of Logo The full-color SBDC logo is the preferred option and should be used for all materials whenever pos- sible. No other colors than those shown here should be used. Full color on white Gray scale on white Incorrect Usage of Logo Never alter the logo in any way; do not change its colors, fonts, and/or orientation. Do not stretch or distort it. Poor quality or pixilated versions of the logo are unacceptable. Always use EPS/PSD fi les whenever possible to ensure highest quality. Do not distort or stretch Do not place on colored Do not place on photo- background graphic background Do not obscure with graphical elements COLOR PALETTE Primary Color Palette PANTONE 188 PANTONE 288 PANTONE 130 PANTONE 7543 CMYK: 0, 97, 100 50 CMYK: 100,67,0,23 CMYK: 0,30,100,0 CMYK: 7,0,0,30 RGB: 124.33.40 RGB: 0,51,127 RGB: 234,175,15 RGB: 168,173,176 WEBSAFE: #7C2128 WEBSAFE: #00337F WEBSAFE: #EAAFOF WEBSAFE: #A6B3B3 Secondary Color Palette In addition to the current color palette occurring on all SBDC collateral, a secondary palette can be implemented.
    [Show full text]