Photo Articles Blog

In general, you may photograph people when they are in public. The use of those photographs, however, can be restricted due to certain privacy rights. Privacy rights are recognized in most states, but are different for each one. Since it’s tricky to know what you can do, the safest approach to follow is the most restrictive one.

One right of privacy – also known as the right of publicity – is the commercial appropriation of someone’s name or likeness. It happens when the name or likeness of someone is used without consent to gain some commercial benefit, such as when a photograph of a person is used in an advertisement without the person’s permission. That is why model releases are so important. It is evidence that you have the person’s permission to use his image for certain purposes.

So what do you do when you travel to foreign countries to photograph the people there? Do you need a model release? What if the people don’t speak English?

Nevada Wier has published thousands of travel photographs from all over the world. Her advice in her book, Adventure Travel Photography, is:

"If you plan to use your photographs for publication or stock, I think it is wise to have signed model releases from any people you photograph in a foreign city, no matter what their nationality or what the shooting situation is. (Even though lawsuits aren't currently common in the rest of the world, this might change.) Translate your release forms into the language of the country you'll be traveling and photographing in. In more remote regions it is a bit trickier to get signed model releases, and not always appropriate. People may be suspicious, confused or frightened if they're asked to sign a piece of paper. Use your common sense."

I couldn’t have said it better.

Take my advice; get professional help.

Photo Attorney

--- ABOUT THE AUTHOR ---

Carolyn E. Wright, Esq., has a unique legal practice aimed squarely at the needs of photographers. A pro photographer herself, Carolyn has the credentials and the experience to protect photographers. She’s represented clients in multimillion dollar litigations, but also has the desire to help new photographers just starting their careers. Carolyn graduated from Emory University School of Law with a Juris Doctor, and from Tennessee Tech Univ. with a Masters of Business Administration degree and a Bachelor of Science degree in music.

She wrote the book on photography law. “88 Secrets to the Law for Photographers," by Carolyn and well-known professional photographer, Scott Bourne, is scheduled for fall 2005 release by Olympic Mountain School Press. Carolyn also is a columnist for PhotoFocus Magazine.

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Better Late Than Never - Register Your Published Photographs

There’s no doubt that it’s easier to register your photographs before you publish them. But if you didn't get it done then, it's better late than never to register your published images. The good news is that it’s more convenient and cheaper than ever to register your photographs after they have been published.

Pursuant to a recent change in copyright law, you now can register a group of published images on one form. The only requirements are that the photos must have been published in the same year, made by the same photographer and have the same copyright claimant. This should fit the profile of most photographers and their work.

Another beneficial change in the law is that group registration of published images currently requires only one “deposit” or copy of the image. Previously, you had to submit two of the actual published copies. Now you can register your published images on one form, with only one deposit, one application and one filing fee, as long as they meet the above requirements.

Specific instructions on how to prepare your registration forms for published photographs are available from the Picture Archive Council of America at http://www.pacaoffice.org/copyright.html in “The Importance of Copyright Registration”

You no longer have an excuse. Go to the dentist, change the oil in your car, and register your images, both unpublished and published. It’s better late than never.

Take my advice; get professional help.

PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Protecting and Prosecuting Your Images

You’re sitting in your easy chair and surfing the web. You’re not paying much attention, until you see it. It’s your photo, but you did not post it there. You can’t believe they used your photo without your permission.

Do you care? Maybe your photo is being used by a family to decorate its news page. Maybe it’s being used to sell a product. Does that make a difference to you?

If the answer to both questions is no, then read no further. If the answer is yes to one or both, then pay attention.

Creating and Owning Your Copyright

A copyright is created at the moment the work is made into a fixed form. For photographers, it happens at the click of the shutter. The image then is protected by a copyright regardless of whether it is recorded on film or digitally. Copyrights give the owner the exclusive right to do, or to authorize others to do, specific things to the property. Specifically, the copyright owner has complete control to reproduce the image, to prepare derivative works based on the image, to distribute them by sale, rental or lending, and/or to display the image.

The photographer who clicks the shutter owns the copyright. The only exception to this rule is when you shoot the image in a work-for-hire condition. This relationship is created only in two situations: (1) when you are an employee hired to photograph for your employer, such as a photojournalist who is an employee of a newspaper; or (2) you are hired to photograph pursuant to a contract, and the contract specifically includes the provision that the copyrights to the images you shoot for the contractor belong to the contractor.

You own the copyright even if you don’t register it. Registration does not give you the copyright. The copyright is established when you take the photograph. Registration is only a legal formality that gives you certain additional rights.

You can only transfer your copyright in writing. Giving a slide to a publisher, giving digital files to a client or selling a print does not transfer the copyright. While these acts grant what is called “non-exclusive rights,” you still own the copyright to the image. The transfer must be specifically described in writing and it must be signed by the copyright owner.

Protecting Your Copyright

When you own a copyright, there are things you can do to protect your rights. The copyright notice – the “©” with a date and name of the copyright owner – is not required for protection, but it may help to guard your images. It may stop someone from copying your image, either because the person will be reminded that the image belongs to someone else or because your notice impairs the image for the person’s use. Also, it helps to include a copyright notice with your image because if it is stolen, the defendant is prevented from using the defense of innocent infringement.

Registering your copyright with the U.S. Copyright Office is required to file suit against an infringer. Registration provides other advantages, as well. These include: establishing a public record of the copyright; establishing evidence of copyright ownership if registered within five years of publication; providing for statutory damages and attorney’s fees if registered before or within three months of infringement; and preventing the importation of infringing copies. You have more rights if the image was registered prior to infringement; but register it anyway, even if it is after the violation.

To make the registration process easier, bulk register both your unpublished and published images (separate bulks; not together).

Prosecuting Your Copyright

When your image is used without your permission, your copyright is infringed. You have several options at this point.

You always have the option of doing nothing. You may not care that the non-profit wolf society is using one of your wolf images. You may only want the society to give you proper credit. If so, write the society a letter officially giving it the right to use the image (be sure to designate the parameters of that use), but insist that you get a photo credit with a copyright notice. Also ask the society to add your website name. You may get additional work from the society or others.

Thanks to the Digital Millennium Copyright Act enacted in 1998, you have another option when your copyright is infringed on the web. While the Internet Service Provider [“ISP”] is not liable for transmitting information that infringes a copyright, the ISP must remove the infringing materials from a user’s website after receiving proper notice of the violation. The notice must: be in writing, be signed by the copyright owner or the owner’s agent, identify the copyrighted work claimed to be infringed (or list of infringements from the same site) and identify the material that is infringing the work.

Additionally, the notice must include the complaining party’s contact information, a statement that the complaint is made in “good faith,” and a statement, under penalty of perjury, that the information contained in the notification is accurate and that the complainer has the right to proceed (because he is the copyright owner or agent). Because the notification requirements must be strictly followed, legal assistance can help to make the claim.

Your most aggressive option is to pursue your legal remedies by filing suit. Remember, your copyright must have been registered with the Copyright Office. To file suit, get an attorney to help you because the legal procedures are complicated.

Usually, your most profitable and easiest road is the middle one. Since you have your proof of registration, you need only to contact the infringer to put him on notice. If the infringer is a business-savvy person, he will know that he’s in trouble. If he doesn’t understand the trouble he’s in, he will as soon as he counsels with his attorney. He will want to avoid the legal fees that will be imposed both by his and your attorney. So make your demand for statutory damages by letter and you will get your just rewards much more quickly.

The weight of your demand letter is dramatically increased if it comes from an attorney. The infringer will recognize that you mean business and are prepared to go forward with suit if the infringer doesn’t respond appropriately.

It’s a Two-Step Process

Protecting and prosecuting your images go hand-in-hand. If you don’t protect them, you can’t prosecute them. If you don’t prosecute them, then infringers will continue to take advantage of artists, and soon you won’t be able to protect your images.

Take my advice; get professional help.

PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Don't Sit On Your Copyright Infringement Claim!

When someone infringes your copyright, you have a limited time to make your claim. This is based on a legal principle called “statute of limitations.” Statutes of limitation, in general, are laws that prescribe the time limit to file lawsuits. The deadlines vary by the type of claim and maybe by the state where you live. The purpose of them is to reduce the unfairness of defending actions after a substantial period of time has elapsed. They allow people to go on with their lives, regardless of guilt, after a certain time.

Because copyrights are governed by federal law, there is only one statute of limitations for claims related to them. Copyright infringement claims have a three-year statute of limitations from the “last act” of the infringement. What constitutes the last act can vary. For example, if your image is published in a newspaper without your permission, you have three years from the date that the newspaper was distributed to file your claim in court. But if the infringement is continuing, such as when someone is using your image on the web without your consent, then the time to calculate the statute has not started to run. Instead, it would start when your photo is removed from the website. Determining when a statute has started to run can get a bit tricky. It sometimes starts when you have “constructive” notice of the infringement, even if you don’t have actual knowledge of it.

If someone uses your photo without your permission, you may seek legal remedy from that person within three years of the last act of infringement. So don’t sit on your claim once you have it. Note, however, to pursue any copyright infringement claims in court, you must first register your copyright with the U.S. Copyright Office.

Take my advice; get professional help.

PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Copyright Licensing Issues

When you own a copyright to a photograph, you have complete and exclusive control of how it is reproduced, displayed and distributed. These rights may be assigned, sold, transferred or given away. If you decide to authorize others to use your copyright, also known as licensing, you may want to consider the following items:

a) Who are you giving the rights to?

b) What specific rights are you granting?

c) Are you authorizing print and/or electronic rights?

d) If you grant electronic rights, what kind? CD? Web?

e) For what time are you granting the rights?

f) Will the rights be exclusive?

g) How will the rights be used? What market or industry?

h) What territory is covered by the rights? North America? English-speaking countries? Worldwide?

i) Are there any work-for-hire implications?

j) How will you be paid? By a flat fee? By royalties?

k) If paid by royalties, how will the royalties be calculated?

l) When will you be paid?

m) Will you allow certain alterations of the work in the use?

n) Will you require certain items with the usage? Copyright notice? Photo credit?

o) Who is responsible for loss, damage or theft of the work?

p) Do you want samples of the use?

q) Specifically retain all other rights to your copyrights - you never know what future usage technology will bring.

r) Make the license subject to being paid in full.

While licensing rights like those referenced above can be done verbally, it is best to put them in writing. You will minimize confusion, and you will have something concrete to rely upon if a dispute arises. To be sure that every important aspect of licensing is addressed, ask an attorney who is familiar with these issues to review the license.

Take my advice; get professional help.
PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Joint Copyright Issues - When You Work With Someone Else

>By Carolyn Wright

In general, when the shutter on a camera is tripped to make a photo, the photographer who pressed the button owns the copyright. But photographers often work with others when making their photographs, such as the art director, stylist, assistant or even the Photoshop editor. So does that person get to share with the photographer the copyright of the photograph? It depends.

Unless it is agreed to in writing, if the work done by the other person would not qualify on its own to be copyrightable -- such as when the art director has the “idea” to place the model on the hood of a red car -- then the copyright is not jointly held. Neither will a copyright for a photograph automatically be deemed shared even though the contributors intended to create a “unified” work. Note that these rules do not apply to the “work for hire” scenario or when you are transferring a copyright.

Instead, for a photograph’s copyright to be jointly held with someone other than the photographer, both the photographer and the contributors must have intended at the time the photograph was made to be joint authors. Specifically, the Copyright Act of 1976 states that a joint work is “a work prepared by two or more authors with the intention that their contributions be merged into inseparable or inter-dependent parts of a unitary whole.” This question is important because when you share the copyright of a photograph with others, you have to agree on how it is to be exploited or licensed, and you must share the profits.

Regardless of the law, though, a contributor to your photograph still may make a claim for joint copyright ownership of it. While you should be able to thwart those efforts, it can cost you time and money and create ill will. So be sure that any documentation that you are required to sign for a job clearly gives you sole ownership of the copyright. And when you hire assistants for your shoot or for Photoshop editing, put it in writing with your assistant that you retain sole ownership of the copyrights regardless of the work performed.

Take my advice; get professional help.
PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn specializes in wildlife photography and her legal website is http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

The Model Release Passes Muster

By: Carolyn Wright

Photographers often follow certain legal practices to protect themselves,
but cannot be sure that they will work when challenged. One such
example is using a model release to obtain a model’s permission to use
photographs taken of him or her in specific ways. The good news is that
the standard model release was recently put to the test, and it passed
with flying colors.

In 2002, Russian tennis player, Anastasia Myskina, who then was 20
years old, posed for photographs by Mark Seliger. Seliger first
photographed Myskina for the Gentleman's Quarterly's 2002 "Sports"
issue and then photographed her topless. Myskina had signed a model
release that said she consented to the use of her name and the pictures
by the magazine and by "others it may authorize, for editorial purposes."

After winning the French Open in 2004, a Russian newspaper published
the topless photos. Myskina filed an $8 million lawsuit against the
publisher, Conde Nast Publications Inc., Gentleman's Quarterly and
Seliger alleging emotional distress and economic injury.

The New York judge who presided over the case held that Myskina's
rights were not violated despite her insistence that she did not
understand the signed model release and was not fluent in English at
the time. Instead, the Judge stated that, "absent allegations of fraud,
duress or some other wrongdoing, Myskina's claimed misunderstanding
of the release's terms does not excuse her from being bound on the
contract. Nor can she avoid her obligations under the release because
of her purported failure to read its contents."

Even though the photographer allegedly told Myskina that the topless
photos were for “himself,” the Judge found that the oral agreement
contradicted the plain language of the written agreement and was not
admissible. The Judge then dismissed the case.

As a photographer, it is important to protect yourself as much as
possible. Fortunately, the model release is one way that has been
proven to be effective.

Take my advice; get professional help.
PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn E. Wright, Esq., has a unique legal practice aimed squarely at
the needs of photographers. A pro photographer herself, Carolyn has
the credentials and the experience to protect photographers. She’s
represented clients in multimillion dollar litigations, but also has the
desire to help new photographers just starting their careers. Carolyn
graduated from Emory University School of Law with a Juris Doctor, and
from Tennessee Tech Univ. with a Masters of Business Administration
degree and a Bachelor of Science degree in music.

She wrote the book on photography law. “88 Secrets to the Law for
Photographers," by Carolyn and well-known professional photographer,
Scott Bourne, is scheduled for fall 2005 release by Olympic Mountain
School Press. Carolyn also is a columnist for PhotoFocus Magazine.

Carolyn specializes in wildlife photography and her legal website is
http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Copyright Notice - Not Required But Helpful

You’ll often see a copyright “notice” – the familiar © or the word
“copyright” with a date and name of the copyright owner - posted on
works of authorship. This copyright notice is no longer required for
copyright protection, but it may be a good idea to use it.

Copyright is a legal form of protection granted by the U.S. Constitution
for original works of authorship. Things such as books, plays, music,
photographs and even websites are protected by copyright law.

If you use the copyright notice, it may stop someone from stealing your
work, either because it reminds them that the work is protected or
because the notice interferes with their use of the work. Also, it helps to
post a copyright notice on your work because the infringer then can’t say
the use was innocent. You can even use the copyright notice without
registering your work with the U.S. Copyright Office, but there are many
other reasons why you should register your work.

If you have a website to show your photographs, it likewise is helpful to
post a copyright notice on your website’s pages. Again, there are no
specific requirements for the notice or no certain language is needed for
copyright protection for your photos on your website or even the website
itself. One caveat – the words “All Rights Reserved” are needed for
protection in places like South America, but it’s hard to prosecute your
images there anyway.

It’s odd that a company (whose owners are not lawyers) would “license”
copyright language for others to use on their websites for $9.95, when
nothing is required for protection. Put what you want on your website.
Put only the basic notice like this: Copyright 2005 Carolyn E. Wright All
Rights Reserved. Or, be more aggressive and use the language I use
on my photography websites:

- All photographs appearing on this site are the property of Carolyn
Wright Photography. They are protected by U.S. Copyright Laws, and
are not to be downloaded or reproduced in any way without the written
permission of Carolyn Wright Photography. Copyright 2005 Carolyn E.
Wright All Rights Reserved.

Feel free to copy and use that statement at no charge from me. Instead,
take the $9.95 that you would have spent on licensing copyright
language and put it towards registering your website and photographs.
You’ll be better off in the long run.

Take my advice; get professional help.

PhotoAttorney

--- ABOUT THE AUTHOR ---

Carolyn E. Wright, Esq., has a unique legal practice aimed squarely at
the needs of photographers. A pro photographer herself, Carolyn has
the credentials and the experience to protect photographers. She’s
represented clients in multimillion dollar litigations, but also has the
desire to help new photographers just starting their careers. Carolyn
graduated from Emory University School of Law with a Juris Doctor, and
from Tennessee Tech Univ. with a Masters of Business Administration
degree and a Bachelor of Science degree in music.

She wrote the book on photography law. “88 Secrets to the Law for
Photographers," by Carolyn and well-known professional photographer,
Scott Bourne, is scheduled for fall 2005 release by Olympic Mountain
School Press. Carolyn also is a columnist for PhotoFocus Magazine.

Carolyn specializes in wildlife photography and her legal website is
http://www.photoattorney.com

Article Source: http://EzineArticles.com/?expert=Carolyn_Wright

Monday, May 15, 2006

Shooting Stock: The Art of Stock Photography and how to Make Money with it Online

By George Ryan

Stock photography in itself is not new, as so many photographers starting their careers believe, but online stock photo agencies certainly are. Stock agencies of yesteryear simply consisted of an image bank of hundreds of thousands of slides/negatives and prints, from which a buyer had to manually select his perfect image, the difference being almost the same as that of a conventional library of books as compared to an online one. The rules and methods of catering to a stock photo agency remain the same, as do the agreement terms ‘royalty paid’ and ‘royalty free’ , both of which will be discussed in more detail later in this article.

The business of buying and selling stock photographs online can certainly be a tricky one, as it is not always the ‘pretty picture’ that gets selected for a sale, as one learns with a bit of experience. Any beginning photographer learns from his ‘guru’ or from experience, to show the client the final image created for them , not the five or so he rejected before he was satisfied he’d captured the right effect, but this doesn’t apply to stock photography , as there is no one particular client in question. The saying goes "one man’s meat is another’s poison" and it is just as true that what one stock photography client wants will be nothing like what another is looking for, sometimes a photo YOU would have rejected is just the one someone else loves!

The beginner needs to understand the terms 'royalty free’ and ‘royalty paid’. Just as implies, the term ‘royalty paid’ means that whenever an image sells, the photographer gets a percentage. For example, if it is sold for the use of a book or magazine publishing, the photographer gets paid a ‘royalty’ every time a book is sold. On the other hand, the term ‘royalty free’ implies that the photographer has given total rights to the publisher, for the specified usage, and gets no commission on every sale of the publishing. It is wrong to generalise that one kind of agreement is ‘better’ than the other. A royalty paid agreement may or may NOT give long term returns, whereas a royalty free image will give a high initial income. There really is no rule of thumb about this , and it is only by experience and preference that you will find out what works for you.

As a side note, it's always a good idea to check the reputation of the publishing house when making a royalty paid agreement.

Now, some more on the nature of images suitable for stock photography. When shooting for stock sales, remember to get every possible angle and every possible lighting effect, all permutations and combinations. When offering a set of images, offer every one that you shot. Try and look from the publishers’ point of view, and understand that something as seemingly trivial as a pen or a glass of water may be required by an advertising company across the globe, who would really hate their time wasted on setting up a photoshoot specially for that. Also, remember that we live in a globalized world today, and the more diverse the people are in your photographs, the better the chances of one of them being sold.

Micro payment agencies have sprung up of late, which allow the buyer to download and use an image for several dollars, royalty free! Shocking as this may sound, photographers who market their work this way CAN make a steady income – where they lose on higher payments , they make up in number of sales. But some leading stock agencies refuse to market photographers who cater to micro payment agencies, and understandably so.

The beauty of mastering the shooting and sales of stock photography is, that they allows the photographer to live life more or less according to his or her terms, up to a point. Some pioneering stock photographers travel as they please, uploading their images to stock agencies, and getting paid online!

George Ryan works for HeyGeek! Inc, administrating and managing several websites including http://www.ebooks.cc and the wildly successful stock photo marketplace http://www.greatstockphoto.com, where photographers get $0.95 per download.

Article Source: http://EzineArticles.com/?expert=George_Ryan

Wedding Photography - Tips for a Wonderful Session

Every couple wants wonderful photos of their wedding day that capture the celebration, details, romance and beauty.
Here are a few tips for a successful photo session:

1. Hire a professional qualified wedding photographer. Don't be tempted to hire "Uncle Harry" to do your wedding photos. Focus on quality wedding photography. At the end in won't matter how much you save or spend if you end up with bad photos or no photos at all.

2. Take the time to select the best wedding photographer that you can have. Make sure that you are in agreement regarding the style of photography.

3. Don't give your wedding photographer a long list of must have photos that you printed from the Internet. You will only hinder the photographer's creativity and the capture of true spontaneous photographs. Hire a photographer with a style that you like and then give him or her artistic freedom to capture your wedding day photography.

4. If you are going to have a ceremony outdoors please plan it away from the harsh sun. Shaded areas and afternoon sunlight are best.

5. Try to have an engagement session with the same photographer that will photograph your wedding. It will allow you to interact with the photographer before your wedding day and will help the photographer evaluate your best angles.

6. Plan enough time for your photographic session. Even if the wedding photographer is good he or she won't be able to give you wonderful photos in just five minutes.

7. Take your time to do your hair and make up and to take care of all the details so you look good and fresh. The wedding day is not the time to try new makeup or a new hair look. If possible hire a professional hair and makeup artist and have a trial session before the wedding.

8. Plan your photo session for afternoon or evening light unless it is an overcast day. The light will be better and you will end up with beautiful photos. Contrary to popular belief midday sunny time is the worst time to take photos.

9. Please don't forget to rest well the day before the wedding and eat and stay hydrated during the day. If you are tired, thirsty or hungry it will show up in your photos.

10. Don't make photography of groups the entire focus of your wedding day. A few group photos are ok to record the friends and relatives at the wedding. There is nothing more boring that a wedding album full of group photos.

11. Be yourself. The goal of the wedding photographer is to capture the true you. If the photos are nice but show a fake person you won't be happy.

12. Have fun and treat the photographer like a human being. Enjoy your day, smile a lot and relax.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit
Portland Oregon Wedding Photographer and
Eugene Oregon Wedding Photographer
For a discussion on wedding photography see our Blog at
Oregon Wedding Photographer

Article Source: http://EzineArticles.com/?expert=Juan_Carlos_Torres

Is Film Better than Digital for Weddings?

As a professional wedding photographer I get this question asked more than anything else. Rarely will somebody ask me about my wedding photography education, awards, or professional memberships. I believe the root to this question lies on misinformation about the different qualities of film and digital.

Film

For a photographer with no computer experience or who does not want to spend the time correcting digital files film is the way to go. Film allows the photographer to photograph a wedding or event and at the end of the day be done with the process. When the time comes to print the photographs the photo lab will take care of color balance adjustments and retouching.
From a technical aspect film has a wider dynamic range than digital. This means than in high contrast scenes film has the edge. It can handle them better without blowing the highlights.

Digital

The greatest advantage for digital is the control of the photographic process in the hands of the artist. The photographer is not longer at the mercy of the lab to produce a photo that reflects his inspiration and vision.

Digital allows the photographer to shoot more frames without the expense of film and development, which can translate into a more complete coverage. After the event the photographer simply edits out the bad photos and you as the customer end up with the best selection of the day.
The digital medium is ideal for backup. Multiple copies of the event can simultaneously exist in different locations in the event of a catastrophe. With film there is always only one copy of the negatives, which could be duplicated, but the second copy suffers significant quality degradation.
With digital it is possible to produce different versions of the same photo including black and white, color, sepia, etc. through a very simple process.

Digital allows for a faster workflow. If your photographer offers digital gallery previews your photographs can be available in a matter of hours for viewing and ordering. In addition, slide shows and DVDs can be produced for the client.

Digital retouching in the hands of an expert can create amazing results.
Since there is no chemistry involved to develop digital the digital process is more environmentally friendly.

Resolution

In terms of resolution both film and digital can produce similar results. With the advent of 11 mega pixel and above digital cameras, digital has the edge for enlargements due to its lower noise levels and the lack of grain.
Many purist talk of the film look, which is basically film grain and noise that gives film its unique look. This film look can easily be simulated with digital image processing techniques.
Many people would be surprised to know that most photo labs will scan film prior to printing. In other words direct film to print is a myth. Digital photos when printed on true photo paper are virtually indistinguishable from their film counterparts.

What does the film vs. digital war means to the client? I believe that when selecting a wedding photographer the client has to focus on the end product more than anything else. At the end it doesn’t matter if the photographer uses film or digital. What really counts is the quality of the photographs that he or she will produce for your wedding day.
There are good and bad photographers using film or digital. Your task as a client is to weed out the bad ones and select a photographer that will capture beautiful memories of your wedding day.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit oregon
wedding photographer and
salem oregon wedding photographer

Article Source: http://EzineArticles.com/?expert=Juan_Carlos_Torres

Current Trends in Wedding Photography

Wedding photography is an evolving field that requires artistic talent, vision, and highly technical expertise.

In the past wedding photography was almost always limited to stiff posses without much regard for the underlying story, emotion, romance, and behind the scene events of the wedding day.

Although there is still a big segment of the wedding industry that practices traditional photography with its preplanned poses, and recreation of the wedding peak events such as the kiss, the ring exchange, etc., the modern wedding couple demands a more contemporary approach to their wedding day.

Wedding photojournalism has been in vogue for the past decade. The central idea behind it has been the capture of the wedding events without any interference or direction from the wedding photographer. The photographer is there to capture the true essence of the wedding day. As a result of this realistic approach the photographs are a true representation of the wedding day. Hard core wedding journalistic will be totally opposed to posing any wedding related event. If it doesn’t not happen during the wedding it won’t be recorded. This includes family group photos.

Several photographers offer a hybrid approach to wedding photography, usually a combination of traditional and journalistic wedding photography. In this approach the photographer focuses on documenting the wedding day but the coverage also includes a session with the couple for formal posed or semi-posed photographs and also family group photos.

The latest trend in wedding photography is toward a more fashionable approach. Inspired on high-end fashion magazines such as Vogue, Elle, InStyle, Cosmopolitan, Glamour, GQ, American Photo, etc., and wedding magazines the photographer seeks to make the couple’s fantasies real.
In the fashion wedding photography approach the goal is to make the wedding couple look their best. Their romantic interplay is glamorized to its maximum expression. The everyday couple becomes like wedding celebrities. Attention to detail is required to achieve the perfect look. This approach requires a great deal of artistic talent behind the camera and also great computer image editing skill to produce a unique photo. Half the photo is made on the camera with the second half achieved though digital image editing and manipulation.

Which style is best, is for you to decide. In our experience a big segment of the wedding couples want to capture the reality, details and romance of the wedding day but at the same time they have fantasies about their wedding and the way they should look.

When making a decision for a wedding photographer look closely to the photographer’s portfolio and see how it agrees with your philosophy on how your wedding day should be photographed. Regardless of your philosophy please make sure that you select a master of the craft, you and the next generation deserve masterpiece memories of your wedding day.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit http://www.juancarlosphoto.com and http://www.willamettephoto.com

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Wedding Photography: How to Become a Successful Wedding Photographer

Once in while I receive e-mails or phone calls from aspiring or beginner wedding photographers asking me for advise on how to become successful in the wedding field. My first question is always what their motivation is to become a wedding photographer. Some will reply that they heard from somebody that it is easy money, or that they got a cool camera that takes great photos or that they would like to make some money on the side etc.
While it is true that wedding photography can be a very profitable business achieving success in the wedding industry is not just a matter of getting a camera and start shooting. Wedding photography involves artistic talent, human sense, complete mastery of photographic techniques, business knowledge, and a strong desire to learn and deliver the best to the wedding couple.

Here I have summarized some points that I believe will guide beginner wedding photographers:

1. Learn photography before anything else. A wedding photographer is expected to be a master of the craft. You will be in charge of capturing people's most precious life moments. The wedding day is not the place to learn photography.

2. Just because you got a brand new camera it does not automatically make you an effective and reliable photographer. Photography goes beyond cool toys and gadgets. Learn composition and develop a unique artistic vision. Some of the great photographs of all time were taken with manual cameras.

3. Master the digital workflow, including color management, digital image processing, file management and image correction and enhancement.

4. Learn to love photography more than anything else. Don't come to the wedding photography field with just dreams of making money. It is true that there are many successful wedding photographers that make a lot of money. However according to the Professional Photographers of America the average photographer in America makes about $24,000 a year.

5. Focus on delivering quality more than quantity. Seek with all your heart to capture unique photographs.

6. Develop a style that is recognizable and unique. Don't try to be like somebody else. Clients look for unique photographers, with a unique vision.

7. Give wedding photography all your heart and effort. Long when you are gone your photographs will last forever. It is a great way to be remembered.

8. Open your heart and your mind and great photos will happen. Concentrate on the human aspect of weddings, the details, and emotions and be ready to capture them. Let the camera become an extension of you.

9. Share your technical knowledge and make connections with other wedding photographers.

10. Participate in wedding photography image competitions. It will give you the opportunity to have your work evaluated by peers and the motivation to improve your work quality.

11. Learn something new everyday. Take advantage of professional photography organizations such as Professional Photographers of America (PPA), WPPI, etc. Attend their seminars, workshops. Participate in Internet wedding photography forums and learn and share tips, tools and techniques.

12. Don't neglect the business aspect of wedding photography. Learn to manage your business effectively. Take business courses and seminars.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association,and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit Portland Oregon Wedding Photographer and Eugene Oregon Wedding Photographer

For a discussion on wedding photography see our Blog at Oregon Wedding Photographer

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Saturday, May 13, 2006

Photography Insurance-Insurance for the Photographer

Part and parcel of establishing your own photographic business is establishing your own legal entity. This means establishing yourself for taxes. This is broader than the scope of this article, because every country has it’s own business rules. Also every state in federal countries has different legal rules. The first thing you need to do is register your business according to your local rules, if you are unsure of this either take legal advice or go and see your local town hall and ask them about local legal requirements.

You then need to separate your private finances from your business finances. Even if you pay your bills with a credit card you should have a separate business card.

Once you have set up your business, then you have to ensure that that business is protected, and one of the ways you can do this is to insure yourself against risks to your business. Whilst you should be able to insure an overall business policy for your business you need to make sure that all the liabilities you face both fiscally and legally are covered. We live in a litigative society, and whilst insurance may seem an expense you can do without, it gives you peace of mind. You need to consider insurance for your errors, omissions and liabilities, as well as ensuring your equipment for loss or damage. You also need an insurance against a claim made as a result of an accident, occurring whilst you are conducting a photographic session.

All sorts of simple errors and omissions can occur between taking the photographs and giving the finished image to the customer. Film can get lost either through your fault or the processor’s. Images may be lost whilst shipping, or in the postal system. Images may also be lost by private carriers, paying a premium price for services may not be sufficient, do you know whether or not you are covered by their insurance, and if you are what is the limit? Whilst it is possible for images to be lost in Cyberspace you should be able to cover those eventualities yourself, by having back up systems. You may release the images to the incorrect party. As well as this there may be a human delay and you may find yourself in the wrong venue, with no time to correct this.

There are other errors that you can be held responsible for this; your customers may sustain a personal injury whilst they are in your home or studio. It is advisable to protect yourself with liability insurance. If someone trips or falls over a piece of equipment, you can be held responsible for the damage. One of your customers may even trip and sustain and injury outside your house on the steps, but if they are coming to your house for business purposes, the business is often deemed to be liable.

Depending on what type of work you are doing you may need an insurance policy for your models. Supposing you take a model to photograph to an outside location and she or he is struck by lightning, or a stray horse, etc? You will also have to ensure that all your equipment is also covered whilst you are on location, as well as inside your normal working area. If you work internationally on location, it is very important to ensure that everything is covered on an international basis.

When you protect your equipment make sure that remember to insure all of it. This does not include just your camera, lenses, and other obvious pieces, but your computer, fax machine, as well as all your software. If you use all your own dark room, then there is that equipment to insure as well. Even if you are using your house, your office equipment will not be included on a normal domestic policy.

As well as all these things you need to have a type of health insurance that covers you if you are sick, or cannot make an assignment. Also what happens when your car breaks down, and you miss a wedding? All sorts of events can and do occur.

It is also normal for any individuals to cover themselves for loss of income. You need to have an insurance policy for this, not just for your health expenses, but to ensure that over basic bills such as mortgages or repayments are covered.

If you have employees, then the business of insurance becomes more complicated, you need to ensure against their actions against your customer’s as well. Supposing they get caught up in a claim for sexual harassment, then you yourself are responsible. Each added little extra thing which you ensure yourself against will probably only add a few extra dollars to your annual bill, and the dollars spent may save a lot of heartache
later.

You can ask to extend your private insurance to include a business package, or there are several companies that ensure the professional photographer’s needs with a separate package of comprehensive insurance. It may also be necessary to extend your vehicle insurance for the transportation of equipment, or it may be cheaper to include such things as loss of equipment from an unattended vehicle on your business package. It is not advisable to assume that you are covered for liabilities on existing insurance policies; it is always safer to check.

Publisher & author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook which guides the reader on how to start up and market a Profitable Photography business. It can be viewed at http://www.profitable-photography.com. Other related and reviewed services & research sources can be found at http://www.profitable-photography.com/html/117/ You can find more detail relating to this article at http://www.awin1.com/awclick.php?mid=255&id=55556 The information on this and adjoining pages may be reprinted and used on other sites providing all information remains unchanged and the article and all pages remain as they are found here in its current font size & image with all links in tact.

The information on this and adjoining pages may be reprinted and used on other sites providing all information remains in the article and all pages remain as they are found here in its current size & image with all links in tact.

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How to Easily Select the Important Photography Category for Your Home Based Business

You may have already started to make money from your photography, but if you are still a gifted amateur, then there are effective methods you can use to kick start your chances of making a profit. At the present time there has never been more opportunities for the photographer. New technologies in the form of digital cameras are changing the face of the industry. However that has always been the case for photographers, and it is no reason to get discouraged.

It has never been easier for the amateurs to take their own photographs. However there are certain circumstances where it is harder than others. An example here is pet photography. There are plenty of people living alone, who have pets, and whilst they can photograph their pets it is far harder to get a photograph of them with their pets. Advertise locally to take pet photos, or take a walk in your nearest park and ask people. If you use a digital camera, you can advertise to people that not only can they have a copy of their pets, as a photograph, but they can have it on their desktop as wallpaper. Digital online printing services will also print the photo on postcards. Get some done and then post them to friends or relations overseas. mugs and serve them in your house to pet owners and see how long it is before someone else wants one.

There are other possibilities, with the tee shirts and mugs, some people will want their own photographs on a tee shirt with perhaps their own caption, advertise these services locally through the means of small ads.

Have some business cards printed, and go and cover local sporting events and contests, there is always someone without a camera, especially if they win, they will want a photograph. Or you may like to consider joining a local society, and advertising yourself as a photographer, there is nothing as effective as word of mouth advertising, all the money paid for advertisements cannot beat it!

Be aware of local activities that take place in your area that you can capitalise on. Graduations are an occasion when people wish to have a more formal record. The cost of graduating itself is so high that what is the cost of a formal portrait in comparison. Especially if you have a digital camera and have no film, you can almost use it in a speculative manner. In other words there are a lot of people together who constitute a market. If you photograph them all then the chances are that you will sell about 40% of your work. There is always someone who has a jammed camera, or in the wrong place, or even proud grandparents who do not possess a camera.

Not everyone lives down the Road from the Taj Mahal, or Gracelands, but many of you will live near a landmark that attracts photographers. Many people will have their cameras but they will not necessarily be digital. If you have a digital camera you should be able to show people a photograph they want in front of something. These photographs, though time consuming to start with, are a start on the photographic market ladder.

Join a photographic club, and talk to other photographers who are making money now. Not only will you make contacts, but you will have the opportunity to refine your techniques. Even in this digital age, it is vital that you keep abreast with technology, and you will be able to compare the value of equipment, that is being used now.

If you have a digital camera, take it in your local nightclub, there is always one in any time, which are new and trendy, take photographs of the range of cocktails on offer. Attractive looking drink will sell better with a photograph, see if you can sell the photographs, or better still negotiate a price for new printed menus. Speak with other local businessmen and see if they can improve their marketing techniques with the use of photographs. A second hand car dealer can increase his business potential with the use of photographs.

Remember when you are starting to make money from photography that you may feel as though you will attract more market share if you sell your work cheaply. Before you take this strategy though, think about some of the implications. It will have a short-term increase that is for sure, but in the long term how many businesses and families want to hire the cheapest photographer in town. People know that they rarely get good quality for super cheap prices and photos,...well, they're special items to most people. Don't be too expensive but don't be cheap either!

Your technical ability is sufficient to represent your client’s marketing in a visual statement, that requires more than point and shoot. Do not sell these skills short. You have to be aware of the hidden costs of doing business; all to often it is easy to absorb a little loss of profit, because it is only small. These costs can add up to a sizeable amount. Ask other local photographers price their market, this may seem a strange technique, but they have a vested interest in not letting a new comer under price their market.

Take into account your realistic overheads, that is the depreciation of your equipment, your insurances, legal fees, accountancy fees, repairs, travel time and costs, subscriptions, and possible rent, both of equipment and studio space. Educate your client explain to them what the higher technology costs, but also what it can offer them. All businesses have to be made more profitable, and it is difficult but not impossible to find a balance between the price you need to charge, and the price the customer will pay, the more the client understands new technology, the less likely they are to balk at paying for it. After all it is cheaper to ride a bike to work than invest in a new car, but who realistically wants to do it.

It is a good idea to sit down and write a business plan to define where you want to go and define your target audience. This is a good marketing strategy; it stops you wasting time effort and money, targeting areas that will provide you with little or no return.

Publisher & author: Roy Barker. A 40 page guide to many more important & exciting categories of potential photography businesses are revealed at http://photography-business.blogspot.com Roy is the author of the popular ebook, Income from Photography - a downloadable ebook which guides the reader on how to easily start up and market your profitable photography business. It can be found at http://www.profitable-photography.com

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How To Easily Start A Nature Photography Business From Home

Nature photography is the photography of animals, birds, fish and other wildlife. We will be discussing marine photography in a future article, because it involves specialist, expensive equipment and assorted diving skills. Here are some important things that you'll need to know...

Nature photography offers special challenges to the photographer. Not least of which is the developing process of film itself. When single reflex print film is developed it goes through two processes, development and printing. The development produces a true color; however automatic printers do printing processes these days. In most cases these are set automatically to reproduce flesh tones, the color of skin. As a tonal color this is not very much represented in nature so that when your film is printed, the colours shown, are not necessarily the colors that were shot. This can be frustrating when you are trying to improve your technique. One way to see an instant improvement is to use slide film, this only goes through the first process of development, and the distortions that occur in printing are eliminated.

The medium to top of the range, digital cameras also improves tonal quality as well as having improved highlight and shadow features. The disadvantage to the use of SLR digital in nature photography is that the consumption of battery power is higher, and you may not be in a position to re charge them in remote places. Also the delicate sensors in digital cameras can be damaged when dust gets in the mirror chambers.

Another challenge for the nature photographer is to understand how a light meter works. Light meters reflect light off a surface, but they cannot measure tone, which is a shade of color. As it cannot register a shade of color. It makes a basic assumption that the surface measured will reflect 18% of the incident light, that means the amount of light falling on a subject. In practise that means that regardless of the color of the object it will provide a reading that assumes you want to produce a shade at 18% mid gray. If you then set your aperture opening at the suggested setting it will produce 18% of grey in the finished image. Unfortunately there is not that much grey in nature, but there is plenty of pure white, for example snow, and clouds.

Once you have obtained your light reading you have to manually adjust the aperture setting so that the final tonal colour will be white and not gray. To reproduce a pure white image you may have to open your f/stop settings by 2 full points. Conversely if you want to reproduce pure black then you have to close down the aperture, by 2 ½ to 3 f/stops. An f/stop is only a numerical number that represents how far the aperture is open.

In changing light conditions for both sand and snow, bracketing is a useful technique. It means that you take or three extra exposures at different settings, so that you can almost guarantee the “perfect” exposure. If you have determined the best exposure is to be taken at 1second at f/16, then to bracket using slide film, you would also shoot additional exposures at 1/2 f-stop settings above and below the "best" exposure setting. This means 1 second at an f-stop between f/16 and f/22; and 1 second at an f-stop between f/11 and f/16. This is 1/2 stop above and 1/2 stop below your meter reading.

For the beginner it is useful to record your exposure information in a notebook. It will help to better your techniques when the film is developed.

Record the f/stop, the shutter speed and whether the exposure was as a result of the light meter reading or whether it was adjusted for some other reason. You can also write this information directly on to your slide mounts, because you may think you will remember, but chances are you won’t! Whilst on the surface bracketing seems expensive, it does not have to done all the time, after a while you will have a feel for a how your own camera reacts, but it is a good technique to use when a shot is really important.

If you would like to explore exposure in an interactive way, this is a simcam simulator and you change your exposure and shoot and see instantly the effects.

All nature photography is improved by the use of slow film; never use more than ISO100, and ISO50 is better still. When you use slower film it increases the danger of camera shake. To minimise this a solid tripod is a good investment. Virtually everyone buys one that is too light at first. It may have to support the weight of your camera over rough terrain. Nature photographs are amongst the most saleable of pictures and the sharper they are the more saleable they become. A tripod helps here because it stabilizes the camera. Make sure that your tripod legs are independently adjustable to take full advantage of low shots. These low shots are used often in natural photography for instance in shooting flowers. A tripod is usually in two parts the head and legs, the head needs to be able to moved up and down as well as to tilt.

Every nature photographer initially balks at the tripod because it is heavy and unwieldy, but it is an essential piece of equipment that makes sure your images are razor sharp. The start up costs of being a nature photographer are high, you need good optical equipment and excellent tripod. Can you take good photographs without a tripod? O course you can, but are they marketable in a highly competitive field, can you make more money by investing in the best equipment money can buy.

The quality of the light is also crucial in nature photographyand it is always better early in the morning or late afternoon, or when the sky is slightly overcast. Harsh midday glare does no favors to the nature photographer as the resultant images lack depth.

There is also a specialist magazine available online for the nature photographer. Their resource links are excellent and they have free issues available for you to read.

Publisher & Author: Roy Barker. Roy specializes in profitable photography solutions for budding and keen photographers. A whole world awaits keen eyes, imagination and some get up and go. Find out you can easily expand your passion and skills in photography into a profitable career at http://www.profitable-photography-resources.com

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How to Use and Select Stock Photography Services

There are two main types of photography to sell, that is assignment photography and Stock Photography. Assignment photography is taking photographs of a predetermined event, and stock Photography is taking photographs in the hope that you will be able to find a future buyer. Most professional photographers take both types, the weddings and portraits take care of immediate bills, as they command a higher price, because they are generally only of interest to a limited number of people. There are exceptions like being hired for a specific assignment to photograph an Olympic Event, and then being able to sell that photograph Internationally. In general, stock photographs command a lower price, but they are more saleable to a wider base.

Stock photographs’ are generally sold on the Internet through what is known as “Stock Libraries”. They generally all work on a very similar system, you take photographs and submit them to a stock library and they sell them to interested parties such as travel brochure companies, advertising agents, book publishers. This way of marketing photographs has distinct advantages, if you are a part time freelancer, or have just started your own business. Either way you are probably too busy making portfolios, and taking pictures to market them. Another factor, which makes this method of marketing advantageous, is that when you are starting you do not have the network of contacts to market your photographs. Added to that there are some people who won’t or can’t perfect their marketing skills.

A downside of this marketing method is that there is a little more to it than taking photographs and waiting for the Royalty cheques to come in. Most stock libraries, will want to re-caption your pictures to fit in with their image, this can be a time consuming process and it can take months to get them online. Like many aspects of selling it is a “numbers game”, the more photographs you have available to sell the more you are likely to sell. This is a fairly general aspect of marketing, but it is more specific in this instance, as prospective buyers may look at other images, if they like one particular one. Because of the time factor of getting your work to the buyers or the public, many stock libraries, have insisted on a minimum contract, which means that they typically ask to retain your work for a minimum of two years.

Some of the stock libraries are general and some are more specific. Marine Themes obviously specialise in underwater photography, and they scan and correct all their images before sale. They are then color corrected to ensure that any prints will be the best quality. All this takes time, to get the images actually for sale on the Internet. The benefit is that marine photography is highly specialised, and this process does increase your chances to merchandise your work.

In the past the market was limited to buyers who were sent colour brochures and made their selection from them, now the market is expanding, as many libraries have widened their sales base by allowing customer’s to make their purchases directly on line. This factor alone has increased the numbers game the more people who have access, the more who are likely to buy. Some stock libraries are general and some are highly specific such as South African images. Some cover specialist areas such as marine photography, or nature.

So how do you choose the stock library that will be the most beneficial to you? There are independent reports covering the various strengths and weaknesses. The annual Freelance Photographer's Market Handbook in the UK features a section on stock libraries and is an excellent reference guide. Some of the stock libraries have been established for ten years. They have hundreds of photographer’s and hundreds of thousands of images. As a result of this they may be reluctant to take on new clients. However if you have a large portfolio available immediately it may be worth trying one of the older companies. However you will be competing with established photographers who have built up a client base. Many of the new companies have less than a hundred photographers and you will start by being a bigger fish in a smaller pond.

At the end of the day, the choice has to be your personal decision, and there is nothing to stop you from registering with more than one library. Whilst the market is growing and will continue to grow to encompass on line sales, remember to consider that sales from a printed catalogue will be important for a while, and it may be advantageous for you to choose a library with a well referenced catalogue.

Every stock library has different terms and conditions. In general most give you a straight 50% of the earnings. However some do let the images go into the hands of “sub agents”, and they will expect an additional cut from any sales. Read your contract well before you sign and beware of copyright issues. Normally when the photograph is sold the buyer is issued with a license number, which only allows them to use the image the once. You minimise your royalties if you allow a buyer to pay once and then get multiple uses out of it.

All in all if you are prepared to look at your market strategy over a long period of time, stock libraries offer you an option. There are forums for professional photographers that do address the issue, and it may be worth you looking into othe peoples style and work. Here are some I recommend you look into and consider selling your stock through:- PhotoStockPlus and Photo.com

There are also available a huge number of royalty free sites. You may question why buyer’s would consider paying for an image whilst they can obtain other’s free? The answer here is that royalty free photographs don’t make them free, you do purchase them, but you have the rights to re-use the stock photos and CDs for as many different projects and clients as you wish without paying further licensing fees.

Publisher & Author: Roy Barker. Roy specializes in profitable photography solutions for passionate and keen photographers. A whole world awaits keen eyes, imagination and some get up and go. Find out how you can easily expand your passion and skills in photography into a profitable career at http://www.photo-photography-resource.com/

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How to Start a Fine Art Photography Business