Category Archives: Education
Why Does It cost so much? –or– Why don’t I own it?
Filed under, “If I had a nickel for every time I heard this….”
The education of commercial art buyers at the client direct level is awash in a sea of misinformation and self-appointed know-it-alls. Some days I see the advantage of having a personal firing squad.
Professional Photography costs X dollars because commercial licensing of intellectual property is a component of the service we sell. Referring specifically to professional photography, we don’t make widgets. We don’t sell real estate. We don’t collect data and mine it for you. We do work on commission, we work at creating intellectual property in the form of visuals and it’s the intellectual property rights built into each and every photograph we build that provides us the ability to make a living wage. Licensing the use of intellectual property for your business or personal needs is part of our business model.
If one works in a situation where someone else carries the weight for you, (benefits, salary, retirement, etc.) then the idea of artists’ intellectual property rights may indeed be a mystery. Add in the costs of doing business, the need to make a reasonable profit and our pricing structure and you have our business model just about summed up.
It’s painful when we negotiate and end up not only having been denied our licensing rights, but maddening when those rights aren’t even acknowledged. It’s not a gift or an entitlement. It’s a right. Artists own their creative works unless they sign them away. It’s the creative-art-patent.
We do not create products. We create the expression of an idea. It’s custom designed to fit your needs and desires. If you’re willing to pay for it you can own our intellectual property rights by an outright purchase and transfer of our copyright. Not recommended of course due to the expense, but it ‘s available. I’ve sold it a few times in my career.
If you’re unable or unwilling to purchase our intellectual work outright then we’ll come to an agreement that let’s you license the portions you need and we’ll keep the rest. We’re then free (through our ingenuity and efforts) to look for other opportunities and revenue streams. Again, this is our business model.
When you purchase a home you are purchasing the property rights to that home and land. When you buy a DVD you own the physical disk but not its’ content. You’ve licensed the content for a specific use. Period. That intellectual property is the property of the creating party….movie studio or independent filmmaker.
I lose projects because ownership issues (my rights) drive costs past what seem like arbitrarily low budgets. Education about this issue is important to both sides so a mutually beneficial understanding is developed.
I’m not inflexible in my pricing either. I’ve adjusted with the state of the economy but it isn’t enough; a request for a quote came in: ten business professional headshots, retouched and ready to post online. The shoot was to be on location about 13 miles from my studio. I normally charge $600.00 a shot for volume jobs like this. But I wanted to see where the bottom was so I came in at the ridiculously low price of $95.00 a shot. I was crazy to let this quote out of my office but I needed to see where bottom was. But in fact I was too high! Some other knucklehead (dumber than me) low-balled the crap out of it after I already low-balled the crap out of it. That’s four low balls! And it wasn’t enough.
Now where’s that firing squad?
But it’s also something much more. More profound. More disturbing than at any other time in my career.
It’s the inability of individuals and businesses to accept that bargaining for these rights (or even the effort to understand and grasp the concept of ownership, licensing, copyright and associated costs) makes us crazy. Ready. Aim….
It costs more than you realize, or want to spend, or have been told is your budget to spend because it’s convenient not to think about what it takes to engage a professional who trades in the photographic arts.
The copyright law that protects every creative’s intellectual property rights includes photographers. And movie studios. And authors. And songwriters. And poets. And comedy acts. And TV shows. And professional sports leagues. We’re in good company and we aim to stay put.
So please listen when we tell you the proper way to license or purchase our intellectual property. It protects you from unauthorized use. If you use protected work that has been registered it gets expensive in a hurry.
But you know that right?
You don’t think I’m going to press my advantage if I catch you? Most likely I will. It’s about respect and acknowledgement of what our rights and protections are. Rights and protections we fight to keep in spite of what our government of the United States of Business tries to do. Daily. You have rights and protections that you want honored and enforced, company trademarks, patents and the like.
It’s a two-way street and today’s economic environment is no excuse for fostering an attitude that belittles the process, diminishes the relationship and adds to everyone’s stress level.
I build photographs, I don’t take pictures.
Thanks for reading.
I thought I’d offer something different in this post…one of my presentations about additive and subtractive color theories, 3-click color correction and a few odds and ends about printing a digital file.
There are more of these at my slideshare site.
I hope you find it useful.
I’ve been testing a pan and tilt time lapse move I’ll be incorporating into a new film. It’s important to understand visually how the “move” looks and what result each pan and tilt setting delivers. As part of my preparation, I purchased a pan and tilt head that’s designed to be used with telescopes, tracking bodies in motion. It can be programmed to pan and tilt at varying speeds and thus my testing has incorporated a variety of subject matter and frame interval rates.
The image above is the end frame for one of the tests I did this past weekend in Palm Desert. It’s a Photoshop composite with 18 separate layers using the “Power Pop” light painting technique where a 580EXII flash is fired off manually 20-100 times and spread across 20-60 frames. It’s the signature look for the ending of certain time lapse narratives but it’s just one of the ways I build better photographs. It takes time, patience and creativity to build the assets, but you’re giving yourself flexibility and control over the process. Time well spent I say….just bring a jacket and a few snacks…
Why do I add an ending this complex vs. just having the scene fade to black? ? Because I want to do more than just a time lapse sequence. I want to have visual fun with the process in its’ entirety. Why should I limit myself to one thing during a shoot? Besides it’s the challenge of it that I find compelling….what can I do to finish this thing off? I know! A multiple exposure, light-painted landscape that’s illustrative in nature.
I’ve done so many of these now that I’ll be putting a new gallery up soon with this type of work. Stay tuned….
I’ll be posting the tests as I complete them. Be sure to click the “Videos/Experiments…” link above to enjoy my previous efforts.
In the meantime here’s what the Layers Panel looks like:
Let me know if I can answer any questions for you.
Well it took long enough didn’t it? Chapter 2 of my time lapse saga at The Huntington was published a few weeks ago. The feedback from my client, friends and colleagues has been 100% positive.
I’m grateful for the response and of course was hoping for exactly that but one never knows…
The months I spent becoming familiar with the material I recorded, (stills, video and sound) sourcing out music for the soundtrack, learning Adobe Premiere and the principle3s of strong editing have all been worth the effort.
I will write again about the 7 things I have learned that make up a time lapse narrative film.
I recommend a small popcorn as this is 4:21 in length.
Until the my next post…enjoy the show.
Hello all…well I updated my site to make it a more enjoyable user experience and because I’m not an IT guru, the update is a screw up. Missing blog photos and the subscription widget is just two issues that have annoyed me to the point that I’m moving my entire site and changing its look to make it more manageable.
Sorry for the inconvenience, I’m working as fast as I can on the move. It came up on me without warning and it’s a priority to fix.
I’m often asked what my criteria are when building my signature environmental portraits.
And they say it’s difficult to come up with ideas to blog about.
Here are they are in a particular order:
(actually 1 and 2 are interchangeable)
3) Clearly explaining the back story narrative with my subject
4) Absolute confidence in my ability to come back with a keeper in terms of lighting angles, ratios, patterns, color, exposure values, posing, expression and gesture
5) Keeping a 100% open mind during the post production process
A good location is critically important to an environmental portrait. Duh. I ask myself: Is it accessible? What type of location is it? Industrial? Corporate? Residential? Natural? How large is the location? What is the available light quality and quantity? How can I supplement the available light? Is there power? Is it safe? When can I get access? You get the idea.
If a portrait is commissioned, my client usually has an idea of where they want it done. That was the case with Roy Disney’s portrait. He asked me to create an image of him for use in the forward of his book: “Fantasia/2000: Visions Of Hope.” Roy made it clear that he did not want a regular head and shoulders portrait, that he was tired of seeing his face in close ups and he didn’t want to wear a jacket and tie. He also wanted the session to take place in his ceremonial office. This ceremonial office was built to look like the sorcerer’s hat Mickey Mouse wore in “Sorcerer’s Apprentice.” and I was thrilled to have the opportunity to shoot there for his portrait. He gave me the baseline for his creative floor. My job was to build up from there. In this particular case the location drove the concept. You can read about how I use the concept of the “image hit” to propel my work in other ways by purchasing my book. I will send you an autographed copy for less than Amazon’s price but you have to contact me first.
A strong and flexible concept is important too. In the case of Sam Maloof, I wanted to build a portrait that combined his stature with wood in its’ raw state. Prior to my idea he was always photographed alone against a plain backdrop, working in his shop or sitting in one of his world famous Maloof Rockers. My idea was unique. I can’t always get to unique but with Sam and Roy I did. When I say flexible I mean that I go into a session with a very clear idea but I’m also open to the singular challenges a location presents and how my subject is feeling that particular day. Heck I can be in a mood too so we all have to stay frosty and work through whatever the session throws at us. For the record both men told me personally that these were their favorite portraits. Sweet.
I spend a lot of time thinking about the idea I wish to build: what is the story of this person? Of this photograph? Who’s in it? And why? What’s happening within the frame? What is the action? What is the gesture? Color? Lighting angles? Lighting sources? Contrast ratios? Props? The location has a strong influence on these answers. The temperament of the subject influences my choices too. As I answer these questions, the story evolves. And as I flesh out the story I make sure the subject knows what’s in my mind and what part I’d like them to play in my vision.
In 32 years of practicing the craft of photography as a self-employed creative professional, I’ve failed only twice to deliver results and that was very early in my career. I’m very good at what I do. I still get nervous though when I’m prepping for and immediately after a session has ended. I usually feel I messed up somehow and won’t be able to produce a photograph I’m proud to display. Don’t know why this is but I no longer fight it, I now go with the flow and know that I did it right every step of the way and in the end the image will be there. This is my philosophy: a successful photograph is a series of small decisions made correctly. I live by this credo.
The increased role post-production applications play in the creative process is controversial for a lot of my contemporaries (read old school dogs like me). They see it as a substitution for doing it right at the moment of exposure and post production is for lazy losers. I embrace post production. It’s foolish not to for it expands the possibilities of what can be done in all phases of building a better photograph. The usual suspects come into play for me: Photoshop, Lightroom and Bridge. I geek out on all three. I use them separately and together depending on whether or not I need to blend layers for my finish. Lightroom offers so many tools now that I have to come up with reasons to use Photoshop and Bridge.
It’s good to know the applications and how to light, etc. but truly without a strong vision or concept the photographs I build would be all technique without content. And I see enough of that already. Don’t you?
As always, thanks for reading.
I volunteered to work on a time lapse film crew…three days at 13+ hours per day from 1pm until 3am…..sheesh! Why did I do this? Reason 1: business is slow (betcha didn’t think of that one) Reason 2: An incredible learning experience from a fellow who is expert at motion-control and stop-motion still imaging. Reason 3: The location of Linda Vista Hospital in Boyle Heights near downtown Los Angeles. Built in 1905, it’s in the process of being converted into senior housing but now it’s old, dirty, dark, dank and ripe for photography of all kinds. Many a horror movie and tv show have filmed here but soon it will be no more, access denied. So here we are, five intrepid souls in search of a common experience. I’m shooting some of the sequences, schlepping gear up and down stairs and mentoring the more inexperienced members of the crew. I too am being mentored in motion-control techniques. It’s a blast.
Many of you know I’m into time lapse as a money maker as well as for the love of it. The filmmaker Jeff Frost and I met last year when we were speaking at a digital imaging group. We’ve since become friends and enjoy working together. A life long learner I jumped at the chance when Jeff asked me to be part of the crew and contribute by shooting sequences for his new film. Needless to say I was humbled and honored by his request and trust in me.
No money? No problem. Actually it is but what are ya gonna do? Many time you do things for reasons other than money. I did however carve out some time between sequences to shoot a few light paintings I call, “Light Graffiti”.
No big deal, just long exposures, (8-30 seconds) one flashlight, a bit of Lightroom magic and a brief visit to Photoshop’s, Blend Modes and Layer Masks.
I also made a very brief time lapse so you could enjoy the view from the roof…..I hope to make one or two more later this week. Stay tuned.
After years of photographing field sporting events I’ve come up with a simple rule that I employ on almost every shoot: the floating camera technique.
As an adult (in my mind anyway), raising and lowering the camera from the “tourist off the tour bus perspective”, creates two additional perspectives during the same shoot. Standing while shooting makes kids look smaller by virtue of the fact that I’m taller than the subjects I’m photographing. IMHO it makes them a less significant contributor to the photograph.
As I kneel and lie down to shoot, the drama and impact of the photograph increases. The triptych at the top of this post illustrates how the ground becomes less important and the subject becomes more heroic as the camera drops.
Just remember to bring a towel for those wet dewey mornings or the ride home will be a cold one….(:(*)
In the past when business was slow it was damn near impossible for me to self-motivate to shoot for my book. As I’ve aged and embraced the advantages of our digital age, I’ve fallen in love with the creative process of photography again. I look forward now to an empty pipeline in that if frees me to work on my portfolio. I have the luxurious problem now of finding time to interpret my visions.
I’ve give myself assignments like flash fill and indoor sports, available light long lens portraits, tilt-shift travel and time-lapse of just about anything. Shooting with my 5D, 5D MRKII, GoPro Hero 2′s and my iPhone, I’ve amassed gigabytes of new work. Coupled with my new found expertise in Lightroom and Premiere and I’m having a blast. I feel like a newbie!
I’ve always been one for taking a mundane subject and building a dynamic photograph from it. It’s comparatively easy to take something beautiful and make it more beautiful through the magic of photography, but I thrive the most when I photograph average subjects and turn them into something beautiful. Here’s a shot I made using my tilt-shift lens of a WWII submarine docked at Fisherman’s Wharf in San Francisco:
This is one of the core values of my career, pushing the limits to see what can be seen. I’ve always been this way, even back in my film days when photographing hundred’s of children’s toys and clothing for Disney, Applause, Universal Studios and Paramount. Sorry, I just had to name drop here….that was fun! But I digress….
The image at the top of this post is the completed image. Here is what came out of my camera. Essentially it’s all here, it just needs a little bit of this and that:
I arrived 2.5 hours early and scouted spots where I thought I’d get the best Endeavor and Forum view at the same time. This was crucial for two reasons: it gives context in terms of location and this image is being used as a marketing piece for a very specific purpose, something I call guerrilla marketing. Here’s the scenario: thousands of people were jockeying for position with their camera phones and dslr’s, pushing and shoving, drinking hot chocolate, sitting on chairs, standing on cars and holding their children’s hands. And there I am with my MRKII, my 24mm tilt-shift, 24-105, 16-35 and my brand new 100-400. I found my spot, planted my flag and waited. When things lined up I took my shot. Several in fact because the jet meant I had a choice regarding its’ placement in the composition. I love it when a spontaneous event happens, it creates added pressure and makes it all the more exciting. You have to be present at this point in order to take advantage of the situation. If you’ve done your homework these things usually work out well. And the jet was a gift I wasn’t going to waste.
This frame had the jet in the right spot for the composition I envisioned. I didn’t care for the distortion but my 24mm tilt-shift was not wide enough so I switched to the 16-35. I’d prepared earlier with my lens choice and at this point I was just waiting for the sun to get into position.
Per my usual protocol, I applied camera and lens profile corrections. And after adjusting for tone, color, clarity and the graduated filter, I was still not crazy with the amount of distortion. So I went to the Manual adjustment portion of the Lens Corrections tab in Lightroom and pulled the vertical slider to a -72:
Brought the file into CS6 to add clouds, move the plane down a bit and generally tone site specific areas that I felt still needed work. It was only later that I gave myself permission to remove the three poles. This IMHO really pushes the image into the beautiful and dynamic category. Success!
FYI: the Layers Panel:
Your comments are questions are welcomed.
Thanks for reading.
Wow am I refreshed! I just woke up from my mid-day nap and I’m ready to put in another 6 hours or so of work today. Those of us who are self-employed have a much easier time when it comes to managing out down time. Can you imagine taking a nap in an office environment? Oh yeah I know there’s always those energy drinks to bring us back from the sleepy time. Not me. I want a nap. Give my brain a bit of time to recharge. Absolutely necessary for the daily tasks that lay ahead: shooting, administration, marketing, networking events, blogging, client touches, etc. Years ago one of the divisions at Disney (a client since 1982) put a cot, table and lamp in an unused office so that it would be available for those who needed it. As far as I know it never was because it didn’t last long. There was a stigma attached that if you napped you were lazy or just not the right fit for the culture. Phooey I say! Let the naps begin!
I regularly awake between 4:30 and 6:00 am most mornings. I used to fight it and go back to sleep but not anymore. One of the advantages of getting older is you choose comfort over style. And my comfort level is to get up when my clock says so and begin another productive day of self-employment. I’ll nap five to six hours later for about an hour and then it’s off again to the races. This idea of napping goes back to another post I wrote about knowing the times of day and days of the week when you are best suited for specific tasks. You can read it here.
As I wrote in the “Know Your Rhythms” post, I am hyper-aware of what I need and when I need it. If I ignore the signals that I need a nap I will not function at the high level I need in order to fulfill demanding and relentless days. What you ask do I do if I have a full day ahead and no time for napping? I go to bed much earlier than usual and if need be, take a caffeine pill to stay awake. I try not to take the pill and will try to catch a cat nap if I can. I have no shame about my need for downtime, I embrace its’ refreshing, cathartic effects on my attitude. It’s contextual however and if I can, I can and if not, I don’t.
Oh well there’s always bed time…(:())