Business, economic development - the unofficial Chamber of Commerce

The job of a landscape photographer is to record a scene. Yet, photographers often fail to capture what it felt like to be actually at a scene.

A good landscape photographer arrives at a scene early, and waits for the scene to unfold. Waiting patiently for changing colours and changing mood, which all go along with the change of the weather.

Vital to all of this is light - natural light and all the elements it brings to a scene.

To be able to use light correctly and creatively we first must understand it. Once we understand it we can use it to our advantage in creating beautifully, dramatic landscape images.

There are three basic qualities of light: intensity, direction and colour.

Intensity: refers to the strength of light. If the sun is high in the sky, light can be harsh and too strong. Cloudy days bring soft and defused light.

Direction: this refers to light placement. There are three categories of light placement: front, back and side-lighting. Side lighting produces more texture between light and shade.

Colour: the colour of sunlight varies depending upon conditions and time of day. If the sun shines at the beginning or the end of the day, the colour of the light will be much warmer, and will lead to a much more dramatic scene.

While all three are different qualities of light, they all have another important factor in common - time of day. Choosing the correct time of day is a foremost in capturing a scene at its best. The intensity of light brings out different colours in a landscape image. Colours in landscape photography depend on light available and also what time you shoot a scene, and where you place your camera.

Early morning shots will cast a red hue in your images. This only lasts a few minutes after sunrise. As the morning progresses the red hue turns to yellow. This normally lasts while the sun is low in the sky. Long shadows are cast along a scene during these early hours. These can add mood to an image. Come mid-day the sun is high in the sky. The shadows are gone. This is the best time of the day for landscape photographers.

As the day turns to evening and the sun gradually falls in the sky, the sun casts stronger colours similar to morning. Sunset can be just as exciting as sunrise.

Time and light come hand in hand. Using both together will most certainly bring out the best in your landscape photographs. We ourselves decide what direction we use, do we use the sun at our backs, or is it better to use it at our side? I prefer side-lighting or facing the sun.

If you’re unsure go to a scene and take a few images. Mark the ground so you can place the camera in the exact same spot and return a few hours later. Return to the scene several times and take notes of light direction. Record the different exposures you take your images. Compare the shots from the different times of day, and the answer will unfold in front of you.

Understanding natural light develops your ability to create better images. You’ll then start to see the beauty of light and colours in a new and exciting way.

TJ Tierney. Award winning Irish Landscape Photographer. If you are looking for more tips visit: Photo tips. To view some of his images visit his on-line gallery: Pictures of Ireland

Take out your photo viewer and everybody will want to look at your photography. In fact they are so fun to use, you may not get them off of it. Get your photos out of the camera or computer and into a your multimedia player, so people want to look at them. A must for all amateur and professional digital photographers. Quickly transfer and view photos from your digital camera in crisp thumbnail galleries or fullscreen. Free up memory space, transfer and view photos from your digital camera. You have alot invested into movies, music and photos and this is the perfect way to get the make of it. This little outfit ties it all together. Personal Media Centers are HOT right now.

JOBO Giga Vu Pro 60GB and Jobo Giga Vu Pro 40GB Personal Media Device KISSER:

The new JOBO Giga Vu Pro Personal Media Device has an adjustable brightness, 3.8″ LCD monitor with 320×240 pixels and a touch screen for keyboard entry. WiFi enabled with an optional Compact Flash WiFi card, the unit can become a node on a wireless network allowing sharing of files with other users. Download your priceless photos in JPEG and RAW file formats. Real Raw Decoding allows the unit to decode RAW formats from Canon, Nikon, and Kodak Pro. Virtually all other RAW formats can be viewed. View 12 thumbnail images per page or slide show mode (JPEG only). Zoom 1,2,3 or 400% for JPEG and RAW formats. Rename albums, add comments and add keywords to images. You have full control with the JOBO Giga Vu Pro. Play, stop and pause MP3 files. Headphone audio line out. It even has a built in speaker w/volume control. Fast USB 2.0 high speed transfers and Rechargeable Li-Ion battery.

Specifications and Features:

Capacity: 60GB Hard disc- Recognized as a computer’s external hard drive for fast up and downloading from, or to PC or Mac. Shock protected hard drive. USB 2.0 high speed mass storage device.

Display: 3.8 inch high quality transflexive color LCD screen, 320 x 240 pixels with adjustable brightness. The bright display is viewable even in bright conditions making it suitable for outdoor use. The JOBO has a touch Screen for keyboard entry. Several screens allow the use of the stylus for typing names, keywords and adding comments to images

Photo Format: supports JPEG and Canon, Nikon, and Kodak PRO RAW file formats, virtually all other RAW formats can be viewed in fht RAW file.
CompactFlash (CF) Type I and I MicroDrive. Other storage formats require an adapter sold seperatly. Supports Adobe DNG format with firmware version 1.0.5.

* Displays full raw decoding progress feedback

* Decodes 6 Megapix.JPG< 1 second.

* Automatic activation of copy function after memory card insertion

* New folder is generated for each download

* Copy with or without preview

* Verify after copy function

* optional auto copy for sport photographers

* Thumbnail view shows 12 images per page

* Slide show mode available (JPEG only)

* Zoom- 100%, 200%, 300%, and 400% for JPEG and RAW

* Powerzoom- up to 1:1 pixel, With the MAX setting in the zoom
function, the GIGA Vu PRO can display at a resolution of one pixel on the display equals one pixel on the camera sensor.

* Color profiling- with firmware version 1.0.5

* Subtle sharpening- with firmware version 1.0.5

* Rotate images- Only in JPEG

* Histograms and Channels- RGB, B/W, and individual R, G, and B channels can be analyzed

* Dust detector- detects dust on the sensor chip of the camera that captured the image

* Pictbridge compatible printer- the unit can print without the need for a computer

* Touch screen for data management- stylus included, several screens allow the use of the stylus for typing names, adding comments to images, add keywords to images (EXIFdata of JPEG files only)

Video Playback: video formats supported MPEG1, MPEG2, MPEG4, DIVX 3/4/5

* Play, Stop, Fast Forward, Rewind

* Video playing time: 120 minutes (with one charge of battery)

Audio Play Back Format: MP3 files,WAV audio files (with firmware version 1.0.5)

* Play, Stop, Pause, Next, Previous

* Headphone, audio line out compatible with automatic detection

* built in loudspeaker with volume control

Wireless Network: WiFi enabled, with an optional CF WiFi card, the unit can become a node on a allowing sharing of files with other users

Menu Languages: English, Spanish, Dutch, French, German, Italian, and Swedish

Battery: High quality rechargeable Li-Ion battery (2200 mAh)

* Optional external battery pack available

* Firmware fully user upgradeable

* Optional Accessories: GIGA Vu PRO external battery pack,

Item #GVB001

*Power- 9V, 1.5A

*Optional- GIGA Vu PRO External Battery

Item #GVB001

Weight: 8.81oz

Size: 1.5″x 2″x 3″

The GIGA Vu PRO Package: comes with the following accessories

* JOBO GIGA Vu PRO

* Internal Li-Ion battery

* Power Adapter 100-240 V

* USB 2.0 Cable

* RCA Cable

* Instruction Manual

*Rubber Display Cover to protect display and controls when unit is not in use

There’s not much point in listing any prices here, you know how quickly they drop on electronics products. Visit KISSERreviews.info to compare prices, read actual customer reviews and find accessories. You will also find KISSERreviews for the Apple iPod Photo, Archos AV700, Archos AV500, Epson P-2000 and P-4000, SmartDisk FlashTrax, iRiver PMP-140, Creative Zen, and the Nikon MSV-01 CoolWalker. Also for Nikon and Canon Cameras.
For helpful information about, How to Become a Freelance Photographer and Freelance Photographer Jobs, visit our unique Digital Photography Website at: DigitalPhotographyWebsite.com for great ideas. There are a lot of free photography tips, tutorials and travel information.

I have been a photographer at western ski resorts. Starting out in Wyoming. Where I landed my first professional photography job, taking action photos of skiers on the slopes at Grand Targhee. I am currently a freelance phototographer In Lake Tahoe, California.

Here are examples of two basic videos you can create quickly on a great budget:

Example A — Do-it-yourself for around $125 + extra copies

1. The interview

Rent a digital video camcorder or if you have one already, use it. At the Video Kitchen in Louisville, Kentucky our $48 daily rental charge includes a tripod, a 60 minute digital tape and one DVD copy of your video.

In a comfortable room with bright and warm (incandescent) lights behind the camcorder facing the subject and no back light (windows behind the person) videotape your relative. Make sure there is water to drink and the camcorder is within 6 feet of the individual. First record 15 seconds of silent video with the lens cap on at the beginning of the video. For more information on how to shoot great video, check out the article by Video Kitchen owner, Carlile Crutcher at: http://www.videokitchen.com/greatvideo.html

There are usually two parts to a biography video: questions and photos. First, in a clear voice, behind the camera or preferably sitting next to the subject, read the questions and allow for plenty of time for answers, this is not a race, make sure the subject feels comfortable to tell stories, or go off on tangents. Here are examples of questions to ask:

What is today’s date?
What is your full name (and maiden name)?
When is your birthday?
What year were you born?
What was going on in the world that year?
What were your parents’ names? Ages when you were born?

Tell us about your aunts and uncles.
What is your most prominent memory of your grandmother? …your grandfather?

Did you have brothers and/or sisters? …their names and ages?
Did you have any farm animals and/or pets when you were little?
What was a typical day like when you were 5 years old?
Did you have a nickname when you were younger?
What sports or games did you like to play?
What was something you did as a child that was really scary?

What subjects did you enjoy in grade school? Why?
What was a typical day like when you were 10 years old?
What were some things you and your friends did for fun as a child?
Who was your best friend when you were a young teenager?
How many people went to your high school?
What was a typical day like when you were 15 years old?
Did you like to dance or listen to music? What kinds?
When did you start dating? Who was your first kiss?
When did you first learn to drive? What kind of vehicle? How fast did you go?

What was your first occupation? …your starting salary?
Did you go to college? Where? What did you study? What did you like most?
How did you meet your spouse? What first attracted you to him or her?
Where did you go on your first date? How did they ask you to marry them?
How old where you when you got married? Where was it?
Did you or your spouse go away to any wars? Which ones? What was that like?

Where were you when JFK was assassinated? How did you hear about it?
Where were you when man first walked on the moon? How did you hear about it?
When did you attend your first movie? What was it? Was there sound?
Which president from your life did you like the most? Why?

How old were you when you had your first child?
What are your children’s names? What do you like the best about each of them?
What are your grandchildren’s names? What do you like the best about each of them?
What is a typical day like for you now?

What are some of your favorite things to do now?
What is the most beautiful thing you’ve ever seen?

What do you like about your life today?
If you could re-experience one thing in your life, what would it be?
What is the one most important thing you have done in your whole life?
Is there anything that you always wanted to do, but never did?

2. Discuss family photos -
Now comes the second part of the video… photos. You don’t want to have whole books of pictures to go through. A good number is 30. Have the subject look at each photo, describe what is going on as if they are showing it to someone, and tell its story. Let them know that they do not need to show the print to the camera, and not to point to specific things, but to just describe them in any detail they wish. Once they have finished with the photos as them one more question…

If they could give one message or bit of advice to their generations of descendants to come, what would it be?

Now your source video is finished and you are ready to edit it.

3. Edit the video and photos -

Call your local video editing suite and reserve an edit station. Let them know that you have a MiniDV digital tape that you want to edit video from, photos you want to include and music to be added. At Video Kitchen in Louisville Kentucky, our basic edit station has a $19 setup charge plus $29 hourly. You need to bring in the videotape, the photos and a CD with soft background music (we can provide the music if necessary). If everything went well and you have a good plan, it should take a couple of hours to complete the editing. We will put a title page at the beginning, replace sections of video with the photos and add the background music to the audio track.

Now you have a digital master tape. Your first DVD copy is included in the price of your camcorder rental. Pricing for additional copies are found on our duplication page.

Example B — Work with a production company’s staff for around $550 + extra copies

1. The interview

Call the your local video production facility and setup a shoot. At Video Kitchen in Louisville Kentucky, our shoots include a broadcast quality camcorder with an operator and a wireless microphone. Lights are extra. We will come to your location and make sure that everything is captured perfectly. There is a $49 setup fee plus $99 per hour and we will probably be onsite for an hour and a half.

The shoot will proceed as in example #1 with a friend or relative reading the subject questions, describing photos, telling stories and sharing memories.

2. The Edit session

Then set up an appointment at the video production facility to come in and sit with an editors at a digital computer non-linear edit station. At Video Kitchen in Louisville Kentucky, this station runs $99 hourly and depending on how much editing is needed, it will probably take around three and a half hours. At this station, we can add photos, music and titles with fades and dissolves. Then we would create your digital master and make one DVD copy which is included in your shoot. Pricing for additional copies are found on our duplication page at http://www.videokitchen.com/dupes.html

More tips

The object is to get the central figure of the video to start talking. Think about it, there are times this person does start telling stories without end. It might be after a large Thanksgiving dinner, it might be late at night, it might be at the kitchen table, it may take a glass of something to reduce tension.

Sometimes it takes something to set the subject off, to get them on their soapbox, to tell the kids how it was back in the good old days. A lively discussion of world events, the way kids dress today, the cost of gasoline may help getting the juices to flow.

There are some masters at this art. Two come to mind. Jim Lipton on Bravo in the Actor’s Studio program interviews movie stars in a way that probes their personality and background without parallel. He has done his research and has questions on blue index cards. His questions not only are “tell me” but also open a subject by telling the actor something that Lipton already knows a little about, and the actor is invited to fill in the blanks, resolve the conflict, complete the joke.

Charlie Rose is another superb talent at drawing information out of his guests. Same blue cards. Same method of asking questions by making a statement and inviting the guest to enter into the conversation. He is on PBS late most evenings. You might want to catch some of these kinds of shows to help you map out a strategy you are comfortable with.

If the person asking the questions is nervous and tight, it may not work. Find a replacement. If the subject of the interview is lost in the best family sofa and you remember most lively discussions being around a table, go for the table. Sound is more important than the picture. Stay close. Leave the camera running through minor errors; just say it again after a small pause. It will be easy to cut out later. Try to keep going. If the first session doesn’t work well, laugh it off and let the subject know you’ll be back. A bad dress rehearsal frequently makes for a great first performance.

While it may increase the budget from the numbers suggested above, there are many ways to add other stories, movies and pictures to your Memoir Video. Other members of the family may have great stories to add, video cutaways of the subject in action walking in the neighborhood, sawing a board, or cooking a meal can all add to an understanding of who this person is. But don’t throw too many things into your first effort. You will have a digital master. You will be able to add more later. Don’t plan delays into your project!

We look forward to learning your families history with you and hope to help you preserve it for years to come. If you have any other questions about video editing, duplication, transfer or conversion, please visit our web page at http://www.videokitchen.com/ or you can write us a 1917 Blankenbaker Parkway in Louisville KY 40299

Good luck on creating your own memory photo montage video!

Video Kitchen can edit, duplicate or convert your video to and from almost any format. Our most popular services are transferring photos to DVD building stunning photo montages and copying VHS and camcorder tapes to DVD to preserve and share those special moments.

We also shoot, edit and do mass duplication of VHS, DVD and CD for businesses and organizations. You can come in and work in an edit suite with one of our editors producing a “broadcast-ready” program or edit together a family video on a self-service basis.

Our wide-ranging transfer services include converting old Super 8, 8mm and 16mm home movie film to video, converting video footage for PowerPoint presentations and encoding clips to be shown on the Internet, to name a few.

We have a location in Louisville Kentucky’s Highlands at 2323 Bardstown Road, Louisville, KY 40205 and one in Jeffersontown in the East End at 1917 Blankenbaker Parkway, Louisville KY 40299. Please browse through our pages at http://www.videokitchen.com/ and feel free to call six days a week.

Yellow daisy, oh yellow daisy - please tell me about fills and flags! How does one use them effectively?

Good question sighs my daisy. An answer or two…

One can shoot anything straight without flash in good daylight and get okay results. I’ve read a load of articles in the last few months saying that bright sunshine is bad, bad, really bad, for color saturation when shooting flowers or anything for that matter - true often, but not always so.

One needs to consider all sorts of things - purpose, time of day, result required, etc! Dawn and dusk produce warm, shadowy light and if one wants to take a landscape photograph of note, this would be the ideal time to do it…using a tripod of course! Shutter speeds slow down in order to get the depth of field required, f16 or even f22, so one is often shooting at ¼ or ½ a second. I’ve met a few people who can handhold shutter speeds that slow but most of us…never in a million years! In the landscape world tripods rule okay!

I know, I know, ironic considering that I spent a bit of Mild Obsession #2 justifying my desire to shoot unfettered by a three legged monster. I did say in my defence, though, be consistent. Part of that consistency is recognition of the tools needed in each particular situation. Life is a balancing act, no more so than in the world of photography.

Another natural lighting situation to consider is sunlight mid-morning to mid-afternoon (harsh front light, but often awesome backlight), tricky at the best of times but even this light can be used well and effectively if one knows how to control it.

A really good way to learn lighting in controlled circumstances is to use angle poise lamps and a small subject on a plain background. For my subject I chose a yellow daisy…not the same one plucked from a faraway field, no, a yellow painted tin daisy, beautiful nonetheless, which I stood up on a piece of white A3 card!

What about color balance you cry? At the risk of being boringly repetitive…digital technology…white balance (WB)… All hail the little tiny green men inside one’s camera, running around changing the color gels so that we can shoot color corrected images no matter what the light source. Incredible stuff!

Try this…

Grab a plain backdrop, a cotton sheet, piece of white card or anything that detracts as little from the subject as possible. Take your subject, place it on your backdrop not too close to the background, set up an angle poise lamp to the left side of the subject and point the light directly at the subject (preferably slightly above). You should be producing huge, harsh shadows. Interrogation time!

Now grab a piece of white card and line it up side on to your subject on the other side from the lamp and move it around until the shadows on the subject are softened to some degree .i.e. fill…The more one can soften the light on subject the better, so next step is to soften the source.

Turn the angle poise around pointing away from the subject angled 45 degrees up, then place a piece of white card in front of it reflecting the light back toward the subject - hey presto softer light -much softer. Soften things even more by playing with more fills on the other side of the subject too. A good soft result, not so dramatic perhaps, but eminently flattering.

I hasten to add at this point that I have done fashion shoots in the past using just harsh direct light, emulating movie-lighting of the 30’s, and achieved gorgeous results. It all comes down to control i.e. positive decision making rather than negative.

Play with this studio lighting setup in miniature until you get a feel for it. There are so many possibilities…

Try this too…

Shine two lamps at the center of your background, one each side, angled at 45 degrees to the plane of the background. Make sure that your subject is flagged to stop any light falling directly onto it. How? Place black card (flags) on each side of the subject (slightly back of the subject) showing the background clearly but not allowing light from the lamps to spill onto the sides of the subject. Now place two pieces of white card in front of the subject facing the background. Leave a small gap to shoot through.

Result?

A subject only lit by backlight and reflected light from the card in front. It’s a really good way to produce a backlit daylight feel. I use it all the time with studio shots of people. It can be fantastically flattering, if done well.

Play! Play lots. Light control is very satisfying when you get the hang of it.

To learn how to translate this lighting control to daylight conditions and to find out more about flags, scrims and other goodies, keep a lookout for Flower Pictures - A Mild Obsession #4.

Remember always - good lighting is good lighting period. Sounds obvious, I know, but real easy to forget.

See the beauty!

Copyright 2005 Patrick Heathcock

Sometime commercial photographer London, fulltime flower art photographer and web designer living in the southern semisphere, soaking up the sun. Visit A Flower Gallery to view the yellow daisy and more!

Taking a picture is more than just pointing and shooting. Simple cameras are lovingly referred to as PHS models (push here, stupid). After ten years of photography and teaching it as well, I will attempt to write even complex topics easily to help you sound like a professional in just one page! Note that we’re only talking about black and white photography.

Photography - “Light writing.” When you write with light, you’re really affecting grains of a silver-based compound on the film. More light has more effect. A lack of light (or dark) doesn’t trigger an emulsion that “sticks” the silver to the film. The developing process begins with a chemical we call Developer. It removes silver that wasn’t stuck. The next chemical is called a fixer; it stops the film from reacting further to light and ‘fixes’ the image on the negative.

With light sticking the silver and dark not sticking the silver, the negative now is dark where there was light and is transparent where there was dark. The chemical reactions will continue on paper when we make a print. The paper will do just what the film did: It will get dark where light hits it and will remain paper-colored where there is no light. So the negative then reproduces the original scene by being opposite light values of the scene.

Ignoring all physics and accepting this as gospel truth, you now know that ‘depth of field’ is caused by a change in the camera’s aperture or f-stop. A small hole, or aperture, restricts the amount of light hitting the film and produces a “great” depth of field meaning many distances are in focus. With an open f-stop or a large aperture, light has more ways in and a blur occurs at distances where you didn’t focus; the depth of field is then considered “shallow.” The f-stop settings have small numbers for big openings and large numbers for small openings: This is the result of a mathematical equation decided years ago.

When using a starter manual camera, you probably preferred the Pentax K1000 or the K1000SE. If you were a Canon lover, the AE1 was your only obvious choice. Your favorite rule in photography is the “Sunny 16” rule. If you really know nothing of photography and must pick up a camera to use in front of others, ask what speed the film is (64, 125, 200, 400, 800), and set the Shutter Speed (usually on top) to a number that comes close. The F-stop ring will be a ring that makes clicking noise around the base of the lens. It has strange numbers measuring that old equation. Set the number to 16. This shortcut to a printable image (meaning the film receives an amount of light that neither over exposes or under exposes it) is only good in sunny conditions.

Having controlled numbers in the darkroom helps. The red light’s wavelength is long and used to light your way around the enlargers and chemical trays. The first tray of chemicals is developer, then a wash, then a fixer and then another wash and possibly a final rinse. These chemicals do to paper what the same named chemicals did to the film (although washes are usually just water). If you’re in the darkroom, the developer tends to be a fixed time of two minutes so that there’s a constant. Any changes are then made at the enlarger when exposing light to the paper. A yellowing print means the fixer wasn’t applied long enough; someone was in a hurry.

If you’re viewing a picture with lots of grays, you’re looking at the definition of “full range;” if you’re looking at a picture that’s high in contrast with black blacks and white whites, you’re looking at the definition of “full scale.” These brief comments are great compliments to knowledgeable photo students. Your basic understanding from this page will hopefully get you over the hump of having to ask questions a photographer has heard a million times before. It’s more interesting for an artist to discuss their take and variations on the process rather than explain the process itself. If you find a black and white photographer, you can now, basically, chat it up!

Bryan now tutors folks on computers and occasionally takes a quick break to write about other knowledges. For free lessons and advice about computers, you can read Bryan’s work for Dinarius, Inc.

Compact cameras get bad press. Not from the manufacturers or the users but from those photographers that think their equipment is far superior.

OK, so I made that up. But there is a tendency to think that to take great photographs means that you have to have the latest and most expensive gear. And it’s true that a professional photographer would get caught short using lesser equipment. There is no dispute there.

But I always hear the sniggers of SLR users when someone next to them whips out their compact to record the scene in front of them. “What, no interchangeable lenses?”, “what, only 5 megapixels?”, “what, an offset viewfinder?”

Recently I went abroad to Spain. I took my SLR and my compact (2MP) camera. I had no intention of using the compact until, my SLR battery ran out and, of course, my spare and charger were at home. The SLR was useless.

Out came the trusty compact - and for the next 7 days I recorded the scenes in front of me whether they be family snapshots or something a bit more creative. The results were superb. Colours and sharpness were indistinguishable from the SLR. I could see no visible image imperfection over and above that which I was used to. And I got the shots I wanted without lugging a load of bulky equipment around.

I missed a bit of flexibility and perhaps lost a bit of creative flair. But I got some great images which take pride of place against those of my digital SLR.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

Approaching Clients Directly

You MUST try to sell pictures directly to publishers,magazines ,Calendar and Postcard companies - apart from anything else you don’t have to pay anyone commission and you can get a good relationship going with the customer.

Fees vary wildly but range from $ 100 up to $Thousands.
(Fees of $ 250 to $500 are not uncommon)

Initially ,send your pictures on a CD - with your name and address on the cd itself with a marker pen (and enclose return postage if you want the cd back)
but ALWAYS send a printed contact sheet of what’s on the CD
Don’t worry - the customer won’t rip them off - after all you still have the originals don’t you ?
If you live in the USA you must register your pictures for copyright purposes. Elsewhere it’s automatic - you take it - it’s Yours !
This is so the customer can see the pictures at a glance.
Customers of big Calendar and poster companies get hundreds of cd’s every week.

Don’t forget that you will be competing with the best and most experienced photographers in the World (oh yes .. and with ME ! (Grin))
Customers in this sector actually PREFER to deal direct with photographers.

It’s amazing how many photographers send in cd’s without their name on the cd or any captions. You just won’t get it back - or get paid !
A CAPTION SHEET that the customer can relate to the photos is essential (put your Name & Address on all paperwork)Enclose a brief covering letter.
Don’t make it too long - the customer is ONLY interested in the pictures - NOT in your life history ….

Remember that customers get hundreds of submissions in EVERY week- so don’t bug them for a quick response please.
Customers will probably refuse to see you in person as they are constantly
bombarded with new photo-submissions. The cd option is the one to go with.
The main thing to avoid though is an e-mail submission of photos.
Think about it - hundreds of unsolicited photos from thousands of photographers
clogging up the incoming mailbox ! PLEASE DON’T DO IT !!!

All these things apply to direct submissions to customers or Agents/Libraries.
There’s not much difference now between a photolibrary and an agency
Agents represent a very few photographers and market just their work.
You can also put your pictures with smaller photolibraries like Fotolibra
who charge storage space and minimal commission fees (www.fotolibra.com)
That’s worth investigating.

Resource Section :
Keith Jones has been a Stock and Travel Photographer for over 40 years
His Website is at http://www.fotos4web.com
Where you’ll find lots of his photos and articles.
This article may be freely reproduced in print or on the world wide web providing :

This resource section is also published intact and the article is not altered in any way.

Printing your own digital photos at home is becoming a widely accepted practice among photographers of all skill levels. And whether you shoot snapshots or more serious photography, there is a photo printer for you, that will allow you to quickly and easily turn out great looking prints in no time right at home. There are mainly three kinds or types of photo printers available for home use and here is the information that you need to be able to choose from among them.

The first kind of photo printer is the smallest of the bunch and they are dedicated snapshot printers. They really only have one function and that is to quickly and easily print 4 X 6 snapshots from your camera’s digital photo files. All you have to do is just hook your digital camera up by a cable and start printing. The output from these small printers is usually very good, and they have the advantage of not taking up much space in your home. The disadvantage is that you can only get snapshots from these printers, as enlargements are out of the question. They also cost quite a bit for their size. But for those who only like to print snapshots anyway and who have to be space conscious, they can be a great solution.

The next kind of photo printer is the full size inkjet printer that is commonly associated with printing documents. These larger printers can handle not only snapshots, but even enlargements as well, on up to 8 X 10 or even larger in some cases. They can also be very easy to use, many of them coming with the PictBridge feature that lets camera owners hook up their digital camera to the printer and print their photos without having to upload them to the computer first. But they can also be very versatile and accomplished too. Many of these type of photo printers can turn out excellent photos that easily rival or even surpass those from a photo lab. Of course, the higher quality image that you desire the more money you will have to pay, but for serious photographers, a high quality inkjet photo printer can be just what they need.

The third kind of photo printer available is the all-in-one printer/scanner/fax machine type of unit. These are incredibly versatile tools for a home business, and the photo printing output from many of these printers can be surprisingly good too. Their biggest drawback is their size, as they can get very large since so much is being asked of just one piece of equipment. But for those that need all of those kind of machines anyway, getting the photo printing option that comes along with it is just an added bonus that can be very useful.

So which kind of photo printer is right for you? That is only a decision that you can make taking into consideration your own photographic needs and equipment space considerations. But using the tips above should help you be able to narrow down your choice more easily.

Thad Pickering writes on many consumer related topics including digital photography. You can find the best photo printer and photo printer reviews by visiting our Digital Photography website.