Busy photography
181 creative works found
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Obey your masters. www.lindsayblamey.com.au
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The Twelve Apostles in the Port Campbell National Park, Victoria, Australia.
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Taken in the bush near Alice Springs. Waiting for the sun to come up and saw this dead tree and just had to take a shot with all the colours behind it.
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Merimbula is on the east coast of Australia between Sydney and Melbourne.
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Australia Rock is located in the seaside town of Narooma in New South Wales, Australia.
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Minimalist abstract study of speeding cyclists, focusing more on the dynamics of the speed and motion of their movements / Oil on Stretched Canvas – No Airbrushing 37 X 59 inches / 94 X 150 cm Original : / $2500 AU – excluding p&p from Melbourne, Australia / contact my Agents at Gallery 112 / .....................................................................................
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Sit down… Relax… Take a break from the hustle and bustle. Enjoy a mid-day dream.
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Model – Lauren Vickers Hilton Hotel, Adelaide. / Corset by Wendy Tonzing. Drinks are on me. Copyright 2008 Harmony Nicholas
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Photographers - What are you paying for? (Part One)
by Jo O'Brien^Disclaimer: This is not legal advice or even professional advice. This is some stuff I’ve learned along this funny little thing called l…
Disclaimer: This is not legal advice or even professional advice. This is some stuff I’ve learned along this funny little thing called life and may not apply in any way to your current situation. At worst, it’s my opinion, at best it’s some ideas for you to think about. If you need real proper advice, go see your solicitor. I’m of the opinion that photography should make me money, not cost me money. So far, I have been successful is making more from a photograph than it took me to create. Here is my list of not so secret tips and advice on covering your arse and saving your cash. When To Pay There are times where spending your hard earned money is the right choice. For example to obtain goods or services you can not find for less (or free) elsewhere. Or when you have done all the maths yourself and you feel you are buying into a good deal. But there are also some pit falls to watch out for. Art Direction, Ideas and Intellectual Property My rule of thumb, if I am paying to shoot, I should have full rights to everything I take. No ifs buts or maybes about it. If you shoot a commercial, the art direction team put together a shoot and then hire a photographer to take photos of what they and the crew have created. They pay for lighting design, they pay the models, they pay the hair stylist, they pay the guy who makes the coffees- and they pay the photographer. Some businesses operate under a similar model but suck money out of photographers in the process. As part of a ‘workshop’ or ‘event’, several photographers rock up with their cameras and take photos of a scene. Often they have little or no control of the setup, can’t communicate properly with the models and will walk out of it with similar images to everyone else who attended! In the worst cases they have restricted rights regarding how they use their images. So is essence, they have paid for something that out in the real world, would be making them money. Sorry if it sounds confusing, the concept completely baffles me. When you are shooting someone else’s ideas and have restricted publishing rights or have little influence over the set up, posing, lighting or set design, (in my opinion) you should be getting paid by them. After all, you are doing them a favor by taking images of their creative work. Classes or Tuition Wanting to improve you skills and knowledge is a great thing. And there are numerous classes, mentors and workshops available for you to choose from. If you are going to pay to attend these, make sure you are getting what you pay for. Before you hand over any cash there are a few details that you should have to help make your decision. Class Size: The more people attending, the cheaper the class should be. If there is a practical component, I usually wont accept a class bigger than 10-12 / Location & Time: no point signing up for an ‘on location’ workshop only to find it is out of your way. Also as a safety issue, you should always be able to tell a trusted person exactly where and when you will be shooting. / The Teacher: You should be able to find and contact the person facilitating the class to verify their experience and ask questions. It not always convenient for a facilitator to take calls from a whole class, but you should be able to send them an email and get a reply without going through a middle man. / Contracts: Ask if you will need to sign any contracts and insist upon receiving them before paying. / What do you get: do you get class notes to take home? Exactly what does the course entail? What can you hope to know and have learned at the end of the course? Contracts These are a great way to waste your money. They also happen to be very important. First and foremost contracts exists to make people money or stop people from making money. So before signing anything, read it a few times and make sure you are aware of what your actions are costing you. If you need to get images approved before sale or publication, you could be agreeing to never publishing or selling any images taken if none are ‘approved.’ It is completely reasonable to request changes to a contract or write your own and offer it instead. Don’t sign away potential income! You should always be able to take a contract away and show it to other people for advice before signing it, and especially before paying for anything. If you are not given this opportunity, my advice is to avoid it with a ten foot pole. And then there are the bazillion poorly written contracts that mean very little or nothing at all. It’s actually quite funny to me sometimes, what people will put on paper. Useful Links Australian Competition & Consumer Commission / Scam Watch Photographers – What are you paying for (part 2).
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The erotic emotions of a woman deep in her own romantic thoughts Oil on stretched canvas – No Airbrushing 36 X 24 inches / 92 X 61 cm Original : / Sold / contact my Agents at Gallery 112 / ......................................................................................
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Pricing your photography
by Leah HighlandI found this article and thought that I would share. / Great information and a bit inspiring to those that might not have / the confiden…
I found this article and thought that I would share. / Great information and a bit inspiring to those that might not have / the confidence they deserve. By Scott Bourne When photographers turn pro, they face an important issue: How to price their products and services. Unfortunately, photographers are at the low end of the pay scale because they usually don’t apply standard marketing and business strategy when pricing their work. The goal of this article is to give you advice that will let you earn what you are worth and at the same time, elevate the price positioning of the entire industry. START AT THE BEGININNG – KNOW WHAT YOU ARE SELLING Are we selling square inches of paper? For some reason, the first thing that enters a photographer’s mind when pricing is print size. This has cost more photographers money than you can imagine. The most important thing to know here is to build value in your product. You do that by considering ALL the factors that go into making a salable image. So what are we selling? How about that creative eye? Anyone can buy a camera but can they see through it the way you do? Are the hours you spent training for this moment worth something? Your mechanic, doctor and lawyer all get paid for their time, shouldn’t you? Then there is your present technical ability. The casual amateur may not be able to get the most out of the same equipment as the everyday pro. And speaking of equipment, you need to consider the value of all those gadgets you have laying around the studio. When you price, charge for your logistical skills, intelligence, time and your ability to translate your client’s desires into a visual statement. You should consider standard usage and copyright in the price as well as basic business economics. And here is one of the first places that photographers stumble. They aren’t honest with themselves about the cost of doing business. In order to price something, you must know what it cost to make. Here are some things to look at: Pricing Economics 1) Overhead / 2) Profit / 3) Market Type Calculating overhead requires you to consider all the costs that are associated with being a professional photographer. That means: 1) Equipment depreciation / 2) Insurance / 3) Rent / 4) Licenses / 5) Legal Fees / 6) Accounting Fees / 7) Payroll Fees / 8) Salaries / 9) Taxes / 10) Utilities / 11) Production / 12) Repairs / 13) Printing / 14) Postage / 15) Office Supplies / 16) Subscriptions / 17) Dues / 18) Advertising/Marketing / 19) Transportation/Shipping / 20) Travel / 21) Misc. Calculating profit is a bit easier. You consider your cost of doing business by allowing for a percentage of your overhead to be applied to the cost of each job. From there you add mark up. This can be based on any number you want but a good starting point is to double the cost of your product. Now you also need to adjust this figure based on market type. Is the image being used in a small or large market? Will thousands of people or just a few see it? What is the value to the client? What will the client do with your image? What choice besides you does the client have? Are there 50 photographers in town or only three? All of these factors go into calculating a price. STRATEGY Now that you know what you have, what you are selling and what it costs you to make it, you need to devise a pricing strategy. This can be as simple as jotting down some basic facts. 1) What is your overhead? 2) What is your marketing strategy? 3) What is the competition charging? 4) How much income do you need to survive? If you have a real business plan, you will have answered most if not all of these questions. If you don’t have a business plan, now would be a great time to write one. It doesn’t have to be fancy but you need to be able to articulate your goals or you won’t be able to measure success. EDUCATE THE CLIENT After you have decided on a strategy, you need to start educating your clients about your business. Most people have no idea what it costs to run a business, let alone a photo business. Share that with your clients. If you run a portrait studio, make sure they understand the differences between what you do and what the chain studios do. If you are selling fine art nature prints, discuss your education and training, the cost of dues to professional organizations, etc. When dealing with art directors, let them know when you have purchased new cameras or computers that feature advanced technology. Once the client can see a nexus between value and price, the higher rates become less of a stumbling block. You can embark on this education process in a number of ways. Issue press releases that tout your equipment acquisitions, attendance at seminars and new employees. Bring these things up in casual conversation when selling. Publish a studio newsletter. Conduct your business in a manner that exudes professionalism. CONCLUSION There is one last but very important step that you must take to profitably price your photography. Ask established photographers how they bid jobs. Smart photographers who have made a good living at photography will gladly help beginners with this information. They realize that if you are new, you might undercharge, thereby bringing prices down industry-wide. Ask for help. You’re likely to get it. Article Copyright 2005, Scott Bourne – Photofocus Magazine ABOUT THE AUTHOR Scott Bourne is the author of “88 Secrets to Selling & Publishing Your Photography” and “88 Secrets to Photoshop for Photographers.” Both are available from Olympic Mountain School Press, http://www.mountainschoolpress.com His work has also appeared in books, magazines, galleries, calendars, on greeting cards, web sites and on posters. Scott is a professional photographer, author, teacher and pioneer in the digital imaging field. His career started in the early 70s as a stringer covering motor sports for Associated Press in Indiana. Since then, he has shot commercial, portrait, wedding, magazine and fine art assignments. His new passion is wildlife photography. Scott regularly lectures on a variety of photo and media-related subjects. He’s appeared on national television and radio programs and has written columns for several national magazines. He is the publisher of Photofocus.com, an online magazine for serious photographers and also serves as the executive director of the Olympic Mountain School of Photography in Gig Harbor, WA.
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“Astro Boy” strives to render the iconic cartoon character to look as realistically three dimensional as possible in an attempt to give Astro Boy what he’s always wanted – to be as human as possible. The Pinocchio of the robot world… Oil on Stretched Canvas – No Airbrushing 24 X 16 inches / 61 X 41 cm Original : / $900 AU – excluding p&p from Melbourne, Australia / contact my Agents at Gallery 112 / ......................................................................................
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In this painting I have endeavored to reduce the landscape down to its absolute minimum, focusing purely on the line of salt-bush on the horizon, with one solitary bird hovering in the air, to give the impression of the raw empty heat of a mid day summer where nothing stirs until l the cool of the evening. . . Oil on Canvas – No Airbrushing 24 X 48 inches / 92 X 122 cm Original : / $1200 AU – excluding p&p from Melbourne, Australia / contact my Agents at Gallery 112 / .....................................................................................................
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Season’s Greetings.
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Season’s Greetings.
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To give an indication of the sheer size and scale of this cloud mass, on the bottom right of this image there are some full-sized pine trees and that small white dot next to them is a huge lighthouse sitting on the end of an island. . . Digital Camera
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Season’s Greetings.
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Season’s Greetings.
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This is the actual shape of the canvas The shape of the canvas becomes an integral part of this painting to enhance the illusion of a three dimensional object. / “Metaphor For A Metaphor” is about our predilection for categorizing everything that we experience, whether it fits into our scheme of things or not. And then, ultimately, resorting to using metaphors when we can’t.. / Hence the box which is distorted out of context… The round peg into a square hole that we seem to love the most…. Oil on Stretched Canvas – No Airbrushing 51 X 35 inches / 88 X 130 cm Original : / $3500 AU – excluding p&p from Melbourne, Australia / contact my Agents at Gallery 112 / ...........................................................................................
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Lexington Avenue, Manhattan, NYC.
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Season’s Greetings.
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A good look at the general “Who cares, let’s party” attitude towards the Earth’s overall plight. . . Pen & Ink and Color Pencil and Photoshopped Globe
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. . .And slowly, everything dissolves back into the landscape. . . Digital Camera
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Season’s Greetings.
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