E-book: How to Make Stronger Photos with Camera Phone

Professional photographer Al Smith has published a 45-page PDF e-book that can help you take better camera-phone photographs. Entitled “eyePhone: Making Stronger Photographs with Your Camera Phone,” the e-book features insights, tips, creative considerations, and must-have resources that can help you build a portfolio of camera-phone images you can be proud of.

“Your camera phone is always with you, so whether you’re an amateur or professional photographer, it only makes sense to know how to use it to your advantage,” says Smith.  

The e-book is available for $5.00 (USD) through Craft & Vision, an online community for amateur and professional photographers seeking high-quality photography education at affordable prices.

Other e-books available from the Craft & Vision library include:

Shoot + Share: Getting Your Photographs Out in the Real World by Stuart Sipahigil

Exposure for Outdoor Photography by Michael Frye

Forget Mugshots: 10 Steps to Better Portraits by David duChemin

LINKS

E-book: eyePhone: Making Stronger Photographs with Your Camera Phone

About Al Smith

About Craft & Vision

 

 

Free Guide Explains What Buyers Want from Photographers

PHOTOGRAPHERS. Feedback from more than 1,000 photo editors and buyers worldwide is summarized in the 2012 edition of the report “What Buyers Want from Photographers Guide.” The report was a joint project of PhotoShelter and Agency Access—two companies dedicated to helping professional photographers be more successful in marketing themselves. The 35-page e-book is available free from the PhotoShelter or Agency Access websites.

In March 2012, PhotoShelter and Agency Access sent out a 25-question survey to Agency Access’ database of 90,000 global recipients. All of the recipients identified themselves as someone who either hires photographers for commission or assignment work or licenses still photography. A total of 1,000 buyers responded, providing written responses and anecdotes to some of the survey’s open-ended questions.

The buyers who responded come from ad agencies (40%), design agencies (15%), editorial publications (15%), corporations (10%), marketing agencies (6%), book publishers (3%) non-profits (3%), freelance (2%), and other (6%).  The most common titles of the photo buyers who responded include art director, creative director, designer, copywriter, design director, photo editor, graphic designer, and art buyer.

The authors of the 2012 report note that “The consistency among responses helped us understand that regardless of where photo buyers work or their particular photographic needs, they share clear similarities on how they want to be pitched, how they wish to navigate websites, and the personal characteristics of photographers they seek.”

The questions addressed a range of topics such as:

  • How photographers should market themselves to photo buyers
  • What makes a great website
  • The types of video skills buyers need right now
  • What obstacles prevent buyers from finding good photographers
  • The personal traits buyers look for (and don’t look for) in a photographer

After describing the types of photo buyers who participated in the survey, the guide presents a short summary of how buyers search for images and photographers and discusses some of the trends photo buyers are seeing, both in technology and budgets.

For example, one associate creative director at an ad agency noted that, “Boundaries between still and moving images are becoming blurred. Interactive books are creating new opportunities for photographers and filmmakers alike.”

Of the 21.9% of photo buyers who said their budgets were increasing compared to 2011, the majority were from advertising agencies (44.5%), design agencies (16.5%), corporations (11.9%), and editorial publications (9.6%). The majority of respondents (56.5%) said their photography budgets for 2012 were the same as 2011.

The 35-page report is chock-full of helpful comments and insights such as the ones below:

  • A marketing manager for an architecture/interior design firm observed that: “I feel photographers are too persistent to the point that it can sometimes be unprofessional. I am happy to make portfolio meetings with new talent, but when I am e-mailed, called, and sought after on a daily basis, I choose not to work with this individual or firm.”
  •  The art buyer at the marketing agency JWT says she prefers that promos not be put in an envelope or be produced in the form of a large, elaborately folded piece:  “Photographers should remember that promoting themselves is about promoting their work. There is definitely room for some fun  and unique ideas—just make sure that it makes sense for the type of work you do.” She suggests sending a simple, well-designed, well-produced postcard with an outstanding image. “Whether it is relevant to what I’m working on at the moment isn’t as important to me as whether I can see that you’re a great photographer with vision.”
  •  A photo editor at Men’s Health magazine emphasized the need to make your website hassle free. “Photo editors appreciate links to websites that navigate easily, load quickly, don’t hae music, and showcase thumbnails that can be scrolled through quickly. Photographers need to have websites that are streamlined so they’re easy to use, very intuitive, and don’t have a lot of bells and whistles.”

About the Sponsors of the Study

Agency Access is a one-stop provider of marketing services for photographers and illustrators. Services include access to a global database of thousands of potential clients and assistance with email, direct mail, cold-calling, design, website portfolio editing, and marketing campaign consultations.

PhotoShelter is a leader in portfolio websites and business tools for serious photographers. They offer powerful features and resources for marketing your photos, such as SEO and social sharing capabilities and options for licensing photography, selling prints online, and pro-strength file delivery tools.

LINKS

 Guide: 2012 What Buyers Want from Photographers Guide

Agency Access

 PhotoShelter

Three Conferences Discuss Changes in Photography Business

PHOTOGRAPHERS. While traditional photography conferences help photographers of all backgrounds develop new skills, some new, more specialized events are helping professional photographers adapt to ongoing changes in how photographs are purchased and used. Here are three examples:

May 16-18, 2012
CEPIC Congress 2012
Old Truman Brewery, London

Based in Berlin, Germany, CEPIC promotes itself as the Centre of the Picture Industry. The organization includes nearly 1,000 picture agencies and photo libraries in 20 countries across Europe. CEPIC has affiliates in North America and Asia, and its members include stock photo libraries, major photo news agencies, art galleries, museums, and video companies.

On May 16, the American Society of Media Photographers will be leading a Photo-Centric day at the CEPIC Conference. Experts will discuss “Where Does the Content Provider Fit into the New Stock-Photography Business Reality?” For example, Alan Murabayashi, a founder of PhotoShelter, will discuss whether content creators still need the traditional stock distributor in order to make a profit.

Two panel discussions will examine where the stock industry is today, where it’s going, and how photographers and distributors can work together more effectively. Three prominent intellectual property attorneys will provide an update on legal and legislative copyright issues in the U.S. and Europe.

The keynote speaker on May 17 will be Dittmar Frohmann, director of International Product at iStock and Getty Images. He will talk about opportunities for content creators in the mobile space.

LINK

CEPIC Congress 2012

May 22-23, 2012
Google+ Photographers Conference

Yerba Buena Center for the Arts, San Francisco, California

Scott Kelby, president of KelbyTraining.com and the National Association of Photoshop Professionals, has launched the first-ever Google+ Photographer’s Conference. The event brings together some of the biggest photographers on Google+, some of the best instructors of photography, and some social-media geniuses. Bradley Horowitz, Vice President of Product Management at Google+, will be joining Scott Kelby for the opening keynote.

“Google + is an incredibly vibrant community for photographers. It’s exploding and if you’re not a part of it, you’ll be missing out on something very, very special. We are extremely proud to bring together an amazing lineup of experts to teach photography, social media, branding and networking skills to help photographers take full advantage of what’s happening now and in the future on Google+,” said Scott Kelby.

During two full days of sessions (9 am to 9 pm), you can attend live photo shoots, one-on-one portfolio reviews, panel discussions, and photography workshops. In the Google+ sessions, you can get tips and tricks from Google+ power users and learn how to write intriguing posts, grow your audience, and optimize your images for Google+.  You can also provide input and ideas for what you would like to see next on Google+.

Instructors for the Google+ Photographers’ Conference include Scott Kelby, Trey Ratcliff, Jeremy Cowart, Lindsay Adler, Alex Koloskov, Peter Hurley, Brian Rose, Catherine Hall, Matt Kloskowski, RC Concepcion, Brian Matiash, Colby Brown, Erik Valind, Mike Wiacek and special guest Guy Kawasaki. Some of the sessions they will be presenting include:

  • How to Host a Successful Hangout with Trey Ratcliff
  • Building Your Brand on Google+ with Guy Kawasaki
  • The Art of the Headshot with Peter Hurley
  • Crush the Composition with Scott Kelby.

Register by Monday, April 30, the registration fee is $299. After April 30, the fee is $349.

LINKS

Conference Schedule: Google+ Photographers Conference

Google+ Page: Google+ Photographers Conference

September 12-13, 2012
Luminance 2012
BMCC Tribeca Performing Arts Center, New York, NY

PhotoShelter’s new Luminance 2012 conference will bring together leading voices from across industries to explore the intersection of business, technology, culture, and photography. Speakers will include distinguished thought leaders from Behance, Blurb, Facebook, Google, 20×200, Tumblr and many more of the companies driving massive changes in today’s photo landscape.

“We’re bringing together a group of photography’s innovators to engage in powerful discussion about the direction and influence of this medium as both an art form and crucial business driver,” said Allen Murabayashi, PhotoShelter Co-Founder and CEO. “Under one roof, Luminance will bring us two dozen perspectives on the dramatic changes occurring in photography. Not simply those who captivate us from behind the camera, but also the people responsible for evolving the way we create and consume photography.”

Speakers at Luminance 2012 will each deliver 20-minute talks in their area of expertise.

  • Jen Bekman, CEO & Founder, 20×200
  • Scott Belsky, CEO & Founder, Behance
  • Lucas Allen Buick, CEO & Founder, Hipstamatic
  • Leila Boujnane, CEO, TinEye
  • Amy Cappellazzo, Chairman, Post-War and Contemporary Development at Christie’s
  • Chris Chabot, Manager, Developer Relations, Google+
  • Eric Cheng, Director of Photography, Lytro
  • Kevin Connor, CEO and Co-Founder, Fourandsix
  • Barbara Davidson, 2011 Pulitzer Prize Winner, Feature Photography
  • Eileen Gittins, CEO, Blurb
  • John Maloney, CEO, Tumblr
  • Michael Muller, Commercial/Shark Portraitist
  • Srinivas Narayanan, Engineering Manager, Facebook Photos
  • Craig Peters (SVP Biz Dev), Getty Images
  • Rick Robinson, Director of Marketing, Vision Research, makers of the Phantom camera
  • David A. Ross, Chair of the MFA Art Practice Program, School of Visual Arts
  • Alan Taylor, Editor, InFocus, The Atlantic (and creator of the Boston Globe’s “The Big Picture“)
  • Jonathan Teo, Managing Director, General Catalyst Partners (and Instagram investor)
  • Peter Yang, Commercial/Editorial Photographer

An optional, limited attendance photography workshop will also be held on September 11, 2012 at Root Drive-In Studios, with renowned pro photographers Joe McNally, Zack Arias, Corey Rich, and Robert Seale.

“Luminance 2012 will be an opportunity for the community to come together around a new topic of discussion that isn’t strictly gear or technique,” said Murabayashi. “It’s a chance to engage in a dialogue with others who are creating the technology that’s driving massive shifts in the photography landscape, to learn from each other, and get inspired about what is still to come for this medium we all both love with passion and equally depend on for our business and livelihood.”

LINK

Luminance 2012

Adobe Creative Cloud Will Change How Projects Get Done

Creative professionals are expected to have a mix of skills—including photography, graphic design, video production, and web publishing. And, they need to be able to work wherever inspiration strikes. That’s why Adobe’s new Creative Cloud™ subscription offering makes sense.

As a Creative Cloud member (subscriber), you will be able to download and install all of the 14 new Adobe Creative Suite 6 applications, including Adobe Photoshop® CS6, Adobe InDesign® CS6, Adobe Illustrator® CS6, Adobe Dreamweaver® CS6, Adobe Premiere® Pro CS6, Adobe After Effects® CS6, and Adobe Flash® Professional CS6. You will also have access to two new HTML5 products: Adobe Muse™ and Adobe Edge preview.

Adobe Creative Cloud membership is $49.99 USD per month with an annual contract. (A special introductory offer of $29.99 per month is available for individual users of CS3, CS4, CS5 and CS5.5.) Creative Cloud is currently available for pre-order. It is expected to be available within 30 days.

Continuing Access to Upgrades

Creative Cloud members will have the tools they need to publish apps, magazines, and catalogs to  iPad, iPhone, and Android devices, and to publish, manage and host websites. For example, members will have immediate access to Adobe Typekit, the Web-based font library that pioneered the use of real fonts on websites, delivering more than 700 typefaces from leading foundries.

Adobe Creative Cloud members will also have access to application upgrades, as well as inventive new products and services as they emerge. Coming in the future to Adobe Creative Cloud are: Adobe Photoshop Lightroom 4; the first complete release of the Adobe Edge HTML5 development tool; and Digital Publishing Suite Single Edition, the technology behind the delivery of digital magazines on iPad.

Integration with Tablet Apps

Creative Cloud is expected to change the way photographers, designers, and illustrators create, share, and deliver projects.  Because Creative Cloud integrates Adobe’s tablet applications (such as Photoshop Touch) with the desktop software, you will be able to synchronize and store files in the cloud for sharing and access on any device.

Adobe Touch Apps will address multiple phases of the creative process: image editing, ideation, sketching, mood board creation, website and mobile app prototyping, and the presentation of finished work.

Photoshop Touch and Adobe Ideas are already hits on the iPad and Android tablets. Three additional tools (Adobe Collage, Adobe Debut, and Adobe Proto) are available on Android devices and will be coming to the iPad soon.

Creative Cloud membership includes up to 20GB of cloud storage, with additional storage purchase options coming soon. Creative Cloud will also include training, support and community features that drive connections between creatives worldwide.

“The urge to be creative is universal, and harnessing the creative spark – in everyone from schoolchildren to creative pros – has never been more important,” said Shantanu Narayen, president and chief executive officer, Adobe. “Wherever and whenever inspiration strikes, Adobe will be there to help capture, refine and publish your ideas.”

LINKS

Adobe Creative Cloud

Adobe CreativeSuite 6

Video: Launch Event for Creative Cloud and CS6

Adobe Touch Apps

 

PhotoShelter Updates Social Media Handbook for Photographers

PHOTOGRAPHERS. Are you getting the type of results you want from social-media marketing?  If not, maybe it’s time to try new tactics or focus on a different platform. To give you some facts and inspiration, PhotoShelter recently released an updated, two-part version of their e-book on social media for photographers.

The 2012 edition of “The Photographer’s Social Media Handbook” covers best practices for using Facebook, Google+, LinkedIn, and Twitter to enhance your marketing efforts and get noticed by potential clients.  Part 1 (44 pages) covers Facebook and Google+. Part 2 (26 pages) covers LinkedIn, Twitter, and other social media platforms that matter.

The first edition of this social media handbook was published in 2010. This updated version talks about major changes that have occurred and looks ahead to changes anticipated this year.  You will see why you need different strategies for each social-media site, and learn how to measure your results.

“The Photographer’s Social Media Handbook” includes interviews with photographers who attracted significant online followings. These photographers provide real-world tips on what works and what doesn’t. They agree that developing a strategy is particularly important, “There must be a method to the madness. Blindly posting and interacting with potential customers will get you nowhere. You first need to ask yourself: “What do I want to accomplish and can this platform help me get there?”

Here’s a brief overview of how photographers can benefit from using four of the most popular social-media platforms.

Part 1: Facebook and Google+

Facebook is a daily-destination website whereas your personal website is not.  It has also become an accepted vehicle for business marketing. Developing a Facebook Page dedicated to your photography business can help build your brand and makes it easier for potential customers to find you.  You can use your page to show your photos, ask for opinions, or offer discounts and promotions.

Google+ is a fast-growing social-media platform that could be considered as an extension of Google itself. Your success with Google+ could directly impact your search-engine optimization (SEO) efforts. Google+ is built for photo-sharing, and accommodates viewing, managing, and editing multimedia.

Part 2: LinkedIn, Twitter, and Other Platforms

LinkedIn can be great for marketing photography services to businesses because it includes more than 54,000 people who identify themselves as photo editors, 28,000+ art buyers, 580,000+ graphic designers, and 644,000+ art directors.  LinkedIn can also help you establish yourself as a reputable source and make connections with people who can vouch for your business ethic and photography.

Twitter connects businesses to customers in real-time. It can help you spread awareness to people who may not know about you, drive signups for your newsletter, get feedback for your images and services, and announce news, special promotions, achievements, and events.

The “Photographer’s Social Media Handbook” advises that “Social media is not something you should pay attention to once a week or only on the weekends. Create consistent times to post, share, and interact with users. This will help grow your following, and increase your chances for solid business opportunities.”

Photographer Bryan Formhals notes that, “You don’t have to be on every platform! Choose the few that you enjoy and commit to them.”

PhotoShelter is a leader in portfolio websites and business tools for serious photographers. It offers a host of social-sharing tools that can help you promote your work via multiple platforms.

LINKS

The 2012 Photographer’s Social Media Handbook

About PhotoShelter

 

Magazine Recaps Camera News, Ponders Future of Imaging

PHOTOGRAPHERS. If you earn your living from photography, it’s smart to watch trends in technology and photo usage that might affect the demand for your services. One excellent source for learning about the “future of imaging” is 6Sight, an organization which has been which has been tracking advancements in imaging since 2006.

When you download the February/March issue of “6Sight: The Future of Imaging Magazine,” you’ll find a wealth of news and insights. The 48-page issue includes a round-up of camera-related news from the 2012 PMA@CES show in Las Vegas in January, noting trends such as ultra-compact models, cameras with with long stabilized lenses, low-light sensitive imagers, and cameras  with WiFi connectivity. You can also read about what’s new in smartphones and video cameras, including:

To help you understand some of the rationale behind these new imaging devices, the February/March issue of the 6Sight magazine features transcripts of three provocative panel discussions among imaging-product manufacturers and photo-industry analysts.

Social Imaging: Does Sharing Threaten Profits?

In this article, panelists discuss how the imaging industry should respond to the fact that smartphone cameras have made it incredibly easy for everyone to snap photos everywhere they go and instantly share them with Facebook.  They talk about how this new reality affects the businesses of companies that manufacture and sell cameras, process images, and print photos. And they raise the question: What can people who have made a living in photography for three decades do now to continue to make a living?

While discussing photo prints as a way of preserving special memories, panelist Jason Mitura of Viewdle expressed this viewpoint: “Paper is a lousy display medium; it degrades, it’s limited, it has no fidelity, you can’t tap it, you can’t tag it, you can’t share it.”  He foresees a future in which people display their favorite shots on a 55-inch LED TV screen.  And if the house burns down, all of your favorite photos will be recoverable because they will be backed up in the cloud.

Will Compact Cameras with Interchangeable Lenses Replace DSLRs?

In this discussion, panelists consider what type of cameras the next generation of photo enthusiasts might buy when they want to move beyond the camera in their smartphones. Will the new compact, interchangeable-lens cameras without moving mirrors replace the bigger, bulkier, classic SLR camera design? When camera users move up from their camera phones, will they be shopping for cameras with a bigger sensor? ease of use? new lenses?

Everything Captures HD Video: Making the Most of Mass Communication

In the introduction to this article, Paul Worthington notes that our smartphones have become mini-TV studios: “The power that was once in the hands of a few people is now in the hands of just about everybody.” But editing 30 long minutes of boring video into 30 watchable seconds of video takes more work than snapping and sharing hundreds of stills.  So he asks panelists to consider what opportunities exist for creating video—particularly videos for viewers with short attention spans.

Terrence Swee, CEO of muvee, observes that “There is a kind of instinctual style of editing that professionals have that the rest of us simply don’t. Even if you’re a computer-savvy guy and you know how to use all 500 functions in a video-editing app, you are not a film-school-trained person. You’re not Spielberg. You are unlikely to be able to make a compelling story.”

Trends in Picture Taking

The February/March issue of the 6Sight magazine is also packed with market-research reports, summarizing trends in picture taking and camera, smartphone, and tablet usage.

For example: According to estimates compiled by the photo-sharing website 1000memories, about 10 percent of the 3.5 trillion photos that have been taken since the invention of photography less than 200 years ago have been taken in the last 12 months. And, Facebook’s collection of 140 billion photos is over 10,000 times larger than that of the Library of Congress. (Wow!!)

In a world in which we are bombarded with tidbits of news from blogs, video clips, and sound bites, reading a good magazine can be enlightening. While consolidating a wealth of imaging-related news in one place, editor/analyst Paul Worthington helps readers make sense of some of the marketing forces and trends behind the technology news.

2012 6Sight Future of Imaging Conference

For the first time, the 6Sight Future of Imaging Conference will join the Consumer Electronics Association’s CE Week event on June 25 and 26 at the Metropolitan Pavilion in New York.  6Sight 2012 will focus on the potential of the trends in connected devices, sharing and social imaging, mobile apps, sensors, processors, optics, and displays. 6Sight experts will also spotlight trends such as augmented reality, 3D, and intelligent image-recognition technology.

CE Week, June 25-29, brings together global companies and innovators for conferences, exhibitions, workshops, and networking events. Last year’s event drew more than 5,500 attendees, including more than 640 media representatives and analysts.

LINKS

About 6Sight

6Sight Magazine: February/March issue

2012 6Sight Future of Imaging Conference

What’s Next for Creatives? A Tale of Two Videos

Now that everyone can create and distribute their own books, recordings, films, photographs, and art, is this the best of times for creative professionals? Or is it the worst of times?

Below are links to two videos that address these questions in slightly different ways. “PressPausePlay,” by the creative agency House of Radon, looks at how digital technology has affected filmmaking, music production, and photography.  “Creative Collision: Where Do We Go From Here” was produced by Agency Access to help photographers and illustrators better understand what potential customers want.

PressPausePlay

I first learned about this video while reading the “Beyond the Lens” blog of Robert Rodriguez, Jr., a former music producer who now makes his living as a landscape photographer and photography workshop instructor. In his post entitled “The Digital Revolution and the Impact on Photography,” Rodriguez wondered how we separate the good from the great in an era in which everyone has affordable access to the tools to be an artist: “We all have access to the gear and technology, therefore getting the next best lens or camera body, or improving your HDR skills is not necessarily going to help you say something meaningful.”

PressPausePlay from House of Radon on Vimeo.

In PressPausePlay, one grumpy critic complains that a lot of the work being produced and posted online is nothing more than “digital masturbation” that forces all of us to wade through a lot of garbage to find what we like.

Other commenters are less harsh, noting that “Everyone’s equally excited and afraid.” It’s wonderful that we call have the tools to express ourselves, but if we want to make a living as a creative pro, it has become much harder to break through.

The mystery of how books, records, and films are produced has disappeared, and production steps that once took months to accomplish can be done in minutes.

Personally, I agree with the observer on PressPausePlay who emphasizes that “The artist comes after the technology.” He cited Jimi Hendrix as a creative who demonstrated what could be done with an electric guitar.

I have watched many creative pros experiment with new technologies over the years. Those who have thrived have been those with a genuine curiosity about testing the limits of the new technology. They also have confidence in their vision and the perseverance to keep putting themselves and their new work out there until they connect with people who really appreciate their work.

Where Do We Go From Here?

The PR people from Agency Access called my attention to this video. Agency Access provides direct-marketing support to photographers and illustrators who don’t have the time (or desire) to actively promote themselves to the extent that it is required today.

Creative Collision: Where Do We Go From Here? from Agency Access on Vimeo.

This video was produced in response to a question raised by one of their customers: Where is the industry headed?

Kelly O’Keefe, professor at VCU Brandcenter notes that “Most enlightened creatives have an understanding that doing fewer, simpler, more impressive pieces will make your recognition grow faster than doing hundreds and hundreds of things.” He pointed out that Steve Jobs sold to Disney for $7.4 billion after Pixar had only made 6 movies—all of them hits.

“We will be best remembered as creatives based on a few great pieces and not on a huge body of work.” says O’Keefe. He urges creatives to focus time and attention on those few pieces, make them relevant, and make them stand out.

Cabell Harris of Work Labs notes that many people wonder “Where is the industry going?” But he admits that, “I don’t even know what the industry is.”

He’s not alone. Technology is transforming publishing, marketing, communications, and entertainment in ways that are both scary and exciting. So far, no one seems to know for sure what the formula for success in any of these fields will be.

Harris agrees that it’s great that every creative pro can now go into business for themselves. But, he says, “It’s important that you promote yourself, and do things that you are interested in and are proud of, and become your own judge.” He emphasizes that, “You have to be inventive, start fulfilling some needs, but you also have to have some fun.  No one does good work unless they have fun at what they are doing.”

LINKS:

Robert Rodriguez Jr.: Beyond the Lens Blog

About Agency Access

About House of Radon