Cost
195 creative works found
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Old concrete and steel lighthouse in the middle of an estuary
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Horses are very protective of one another, especially when their is impending danger or bad weather. (General rule is Fight or Flight, 99% of the time its flight for horses) These spanish arabs here give the feel of siblings, both young, inexperienced, learning the way of life in the wild. All artwork is created by using Bryce Software. Image copyright © 2009 Lisa C. Weber. Copying and displaying or redistribution of this image without permission from the artist is strictly prohibited.
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A display that cost. 1799.99:) as is image:)) from The Sony DSC H 7 Butterfly Estates Garden store fort Myers, Florida AVATAR of the Week at Peace love Tranquility June 8 2009 and sold! to the beautiful amanda witt won a top spot in a challenge at just Butterflies
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Shot this as Henk and myself arrived at Wainui (Wainuiomata) Coast, shot off about ten frames before the light came up, this was a 30 second exposure, so in the space of 5 mins this light had gone and we started into the orange and pink spectrum. I’ve left the lights of the fishing boats returning to Wellington. A beautiful morning, very calm, very little wind, which is just as well, sea spray on the lens is a pain to keep cleaning off. Shot on a NIkon D700 with 17-35mm lens
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Shot on a shoot earlier this year with Henk Stolk at Wainuiomata beach, south cost north island new Zealand, great location but not for the feint hearted. Shot on a Nikon D700 with 17-35mm Nikkor Lens / Henk Stolk Orange
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“Warm moonlight over my horizon, she’s a slice of heaven, yeah / Her love shines over my horizon, she’s a slice of heaven” Dave Dobbyn Shot at Wainuiomata Beach on the rugged wild south coast of new Zealand’s North Island, this was part of a mutual learning curve with Henk Stolk who I’m sure will never take another dry seascape again ;-) Shot on a Nikon D700 with 17-35mm Nikkor Lens / Check out what Henk shot, Wainuiomata Beach
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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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A very simple image, less complex than my other seascapes but so striking, I love the Lord of the Rings trilogy and this has the back remains of Mordor stone washed clean Gandalfs trailing beard and the forces of Light over Darkness! – pure Bulls#8t but it works for me. See, the Influence of the Dark Stolk Shot on a Nikon D700 with 17-35mm Nikkor Lens
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Shot on a Nikon D700 with 17-35 Tamron lens Other work in this series Claw Back the Sands of Time / Time and tide / Dawn Arrives / Draw Back / Explosive / Punk Rock / Orange Dawn / Side swiped! / 10m Vertical / Marble / Clawed from my feet / Last but not least
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Shot at Makara Beach, west coast of lower North Island, New Zealand, looking back towards the point. Shot on a Nikon D700 with 17-35mm lens, with Cokin ND8 grad filter.
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Shot at Wainuiomata Beach on the rugged wild south coast of new Zealand’s North Island, these rocks are a favorite of mine, pounded by the sea for hundreds of years, very dramatic, this is about the third or fourth wave in the set which produces a very manageable explosion, the seventh wave in the set is pure TNT, very hard to catch, see below. This was part of a mutual learning curve with Henk Stolk who I’m sure will never take another dry seascape again ;-) Shot on a Nikon D700 with 17-35mm lens Remains of a sixth wave / Explosion of a seventh wave /
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Comrade in Arms, shot on our dawn shoot at Wainuiomata, Henk engages with Cook straight and the force of the South Pacific Ocean, on a calm day I might ad, on a bad day Henk would have been washed away, great to exchange style of work. Shot on a Nikon D700 with 17-35mm Nikkor lens
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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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Just my way of proving a point. We are suffering because of the greed from the oil companies.
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Once the dawn starts moving at Wainui the light changes fast, I saw this streaky pink cloud forming and had to wait till it aligned with the top of the rock, the frames before had better poition for the cloud coming straight of the peak, but none of them had the water right. I shot 12 variations of this, this gave me a different feel, I was after more streaming draw back water, this gave me the added bonus of reflected colour in the thin layer of water drifting back. Here is what I mean by perfect alignment / / It also shows on of the many hazards that you get at Wainui :-) Shot on a Nikon D700 with 17-35mm nikkor lens
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A very simple image, less complex than my other seascapes but so striking, I love the Lord of the Rings trilogy and this has the back remains of Mordor stone washed clean Gandalfs trailing beard and the forces of Light over Darkness! – pure Bulls#8t but it works for me. See, the Influence of the Dark Stolk Shot on a Nikon D700 with 17-35mm Nikkor Lens / Dawn light cleanses the remains of Mordor
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Early morning shoot at Wainuiomata Beach, the end of the world, not quite but the next stop is the south pole, wind that will slice your ears off and sand/gravel that will sand bast your car, not a place to swim. image taken on a Nikon D700 with a Tamron 17-35mm lens. Other work in this series Claw Back the Sands of Time / Time and tide / Purple Dawn-the Rising / Dawn Arrives / Explosive / Punk Rock / Orange Dawn / Side swiped! / 10m Vertical / Marble / Clawed from my feet / Last but not least
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12X19 original art print a.p. signature landscape with wildlife
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Simple shot, sea created a surge over Mithril stones (The Mithril vest woven by the elves and worn by Frodo Baggins) the rock on the left is the same one in Mithril Shores Shot on a Nikon D700 with 17-35mm nikkor lens / Mithril Shores
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The precise moment just before you snatch the camera up, a near waist deep wash, you can’t get the same effect with a long lens, you need to be close and wide. Lets just put this into perspective, I don’t just walk out into the sea, you need to watch what the wave pattern is doing, it’s tending to peak around the seventh wave, the seventh one will blast you, but 6 and 8 will have the force and momentum for you to get the shot and get out. Shot at Wainuiomata on a shoot with Henk Stolk a treip we will both remember for a long time, great to share the experience.
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Photographers - What are you paying for? (Part 2)
by Jo O'BrienBe open minded about your camera gear You can make a tripod for only a few dollars...
Be open minded about your camera gear You can make a tripod for only a few dollars, tracing paper makes a great diffuser and a trip to a hardware store will give you very bright lights. Yes, there are downsides, and for the technically perfect photographer, these suggestions will be a very funny joke. The point here is keep and open mind and try new things before forking out $100 for a piece of shiny material that resembles a $5 dash board cover. Unless you use a biscuit tin to take photos, eventually you will want to buy a new camera. Shop around, get advice, try out a friend’s and when you walk into the shop, don’t spend hundreds of dollars on accessories that you wont’ use. It doesn’t hurt to haggle a bit either. When the salesman tries to close the deal, my typical response is “what else are you throwing in?” Studio Hire So the first question you ask yourself is “Do I know anyone who already has a studio set up?” If the answer is yes. Skip the rest of this section, suck up your pride and ask them if you can visit and have a play. The rest of you, ask yourself what you are paying for. Is it the chance to get a professionally lit shot? Maybe you could try a lighting course that will not only give you many opportunities to work with professional lights, but will teach you the theory and science of lighting. Often these courses are much cheaper than a similar amount of time in a rented studio. Do you want to try shooting in more controlled conditions? Try clearing out a room of your house and setting up a few scenes. The results may not be brilliant but it will give you a sense of how much time you can spend setting a shot up before you get to click the button. If you are certain that a proper studio is for you, consider hiring it out through a camera club for a discounted rate, or hiring it out with a couple of other photographers to minimise your expense. Models and TFP Models and photographers have one thing in common – they both need a portfolio of photos to proceed in their career. This is why Time For Photo shoots have become so popular. But before you jump up and down about using a free model take a second think about what is fair and ethical. At the end of the day, both you and the model should be happy with your arrangement. If someone feels short changed, you should consider modifying your approach. This is my rule of thumb. If a model approaches me to take shots for her portfolio, and I am working to her brief, she should pay me. If we have put our heads together to come up with a project and proceed on equal footing where we both use the images, then neither should pay. And if I conceive and art direct the shoot and have priority over the image rights, I should pay the model. Basically whoever comes out on top should be paying the person who is doing them a favor. Then there are test shoots, these are almost always done on a time for photos basis. These shoots are a bit like ‘warm up’ shoots for the model and photographer to see if they want to work together properly. They are also a chance to test new ideas or equipment. Often the images taken in test shoots are less than great, and if they do turn out, they are most commonly shared equally between all parties. If you are requesting a model release form because you intend to profit from the images, in my opinion, the model should be paid or you should have an arrangement to split any profits. My plan of attack is to put out a call for models. Then I will do a test shoot with the model who has contacted me and we either have equal rights to the shots or split them down the middle. If the test shoot goes well we may arrange to work together again. This might mean doing an even split of “her ideas” and “my ideas” for no payment, or it may be paid work if I am contracted to produce shots for a commercial job. Photographers – What are you paying for? (Part One).
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Win @ All Costs Tee
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Shot to the left of Fyffe’s House, North Bay at Kaikoura on New Zealand’s South Island. The last light of the day, Kaikoura is indeed a magical place, here the son has set to my left with its last rays casting a subtle pink light between the Seaward Kaikoura and Inward Kaikoura Ranges, behind me to my right the moon has already started to rise over the south Pacific Ocean. Just enough light to catch these rocks side on, two mins from now and its all gone. Shot on a Nikon D700 with 17-35mm lens. here is the same place at dawn Cotton Candy Dawn /
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Praise the Lord and Pass the Collection Plate Saying it with art. Visit Active Art / MCN:C7587-76D2C-901F9 FEATURED by C.O.R.E.
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